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Left: Photo by Koto Bolofo<br />
Dear Reader,<br />
All books in our new Fall/Winter 13/14 catalogue have been selected for you by my collaborators<br />
Karl Lagerfeld, Pascal Dangin, Peter Miles and myself.<br />
The program is composed with great care and attention to detail and is not driven by any<br />
marketing interests. We publish these books because we love them for their contents –<br />
hoping that they might spark some inspiration in you as well!<br />
As always I give you my word that all the books in this catalogue are printed by my team<br />
and myself at Steidlville, Düstere Straße 4, in Göttingen, Germany, together with our<br />
artists.<br />
Gerhard Steidl
4<br />
Index<br />
Artists<br />
Abbott, Berenice 14<br />
Adams, Bryan 82, 148<br />
Bacigalupo, Martina 94<br />
Baltz, Lewis 136<br />
Blumenfeld, Erwin 84<br />
Bolofo, Koto 114, 116<br />
Brookman, Philip 104<br />
Burtynsky, Edward 56<br />
Campany, David (ed.) 126<br />
Close, Chuck 138<br />
Davidson, Bruce 40, 144<br />
Dine, Jim 120<br />
Eggleston, William 74<br />
Frank, Robert 72<br />
Freed, Leonard 80<br />
Garb, Tamar (ed.) 96<br />
Goldberg, Jim 102<br />
Graffenried, Michael von 112<br />
Horn, Roni 134<br />
Kobal Foundation, The (ed.) 162<br />
Kosorukov, Gleb 88<br />
Lagerfeld, Karl 146<br />
Leiter, Saul 32<br />
Ludwigson, Håkan 108<br />
Makdissi, Nouhad (ed.) 122<br />
Marchand, Yves 158<br />
Meffre, Romain 158<br />
Mocafico, Guido 140<br />
Mofokeng, Santu 92<br />
Munkedal 164<br />
Noguchi, Isamu 150<br />
Odermatt, Arnold 152, 154, 156<br />
Pages, Nicolas 130<br />
Peverelli, Benoît 130<br />
Powell, Luke 48<br />
Roitfeld, Carine 146<br />
Ryssen-Bolofo, Claudia Van 114<br />
Salvesen, Britt 160<br />
Savulich, Andrew 86<br />
Schles, Ken 76, 78<br />
Schmidt, Jason 118<br />
Séclier, Philippe 124<br />
Sheikh, Fazal 100<br />
Sturges, Jock 64<br />
Teller, Juergen 106<br />
Walther, Artur (ed.) 98<br />
Walther Collection, The 92, 94, 96, 98<br />
Wessel, Henry 90<br />
Zimmermann, Harf 110<br />
Titles<br />
Afghan Gold – Photographs 1973-2003 48<br />
African Photography from the Walther Collection 98<br />
american journey, an 124<br />
Artists II 118<br />
At Zenith 74<br />
Balls and Bulldust 108<br />
Balthus – The Last Studies 130<br />
Beirut Mission. Photos 2009-2011 122<br />
Bierfest 112<br />
Black Photo Album: Look at Me, 1890-1950, The 92<br />
Blumenfeld Studio 84<br />
BRAND WAND 110<br />
CITY, THE 86<br />
Distance and Desire 96<br />
Early Black and White 32<br />
Ether 100<br />
Exposed 148<br />
Fanny 64<br />
Glamour of the Gods 162<br />
Gulu Real Art Studio 94<br />
Haraldsdóttir, Part Two 134<br />
Heroes of Labour 88<br />
Household Inventory Record 72<br />
In Color 40<br />
INCIDENTS 90<br />
Invisible City 76<br />
Karambolage 152<br />
Little Black Jacket, The 146<br />
Made in Germany 80<br />
Munken Works 164<br />
New Topographics 160<br />
Night Walk 78<br />
Off Duty 156<br />
On Duty 154<br />
Printmaker’s Document, A 120<br />
Prison, The 114<br />
Redlands 104<br />
Rich and Poor 102<br />
Rolls-Royce 116<br />
Ruins of Detroit, The 158<br />
Scribble Book: Self-Portrait 138<br />
Sculptor’s World, A 150<br />
Stilleven 140<br />
Subway 144<br />
Unknown Abbott, The 14<br />
Venezia Marghera 136<br />
Walker Evans: the magazine work 126<br />
Water 56<br />
Woo! 106<br />
Wounded: The Legacy of War 82
Contents<br />
2 Editorial<br />
4 Index<br />
5 Contents<br />
6 How to contact us / Press enquiries / How to contact our imprint<br />
partners<br />
7 How to order<br />
Distribution<br />
8 Germany, Austria and Switzerland / USA and Canada<br />
9 France / All other territories<br />
11 Steidlville Bookshops<br />
12 Book Awards 2012/2013<br />
STEIDL World Wide Photography<br />
14 Berenice Abbott The Unknown Abbott<br />
32 Saul Leiter Early Black and White<br />
40 Bruce Davidson In Color<br />
48 Luke Powell Afghan Gold – Photographs 1973-2003<br />
56 Edward Burtynsky Water<br />
64 Jock Sturges Fanny<br />
72 Robert Frank Household Inventory Record<br />
74 William Eggleston At Zenith<br />
76 Ken Schles Invisible City<br />
78 Ken Schles Night Walk<br />
80 Leonard Freed Made in Germany<br />
82 Bryan Adams Wounded: The Legacy of War<br />
84 Erwin Blumenfeld Blumenfeld Studio<br />
86 Andrew Savulich THE CITY<br />
88 Gleb Kosorukov Heroes of Labour or 100 from Stakhanov mine<br />
90 Henry Wessel INCIDENTS<br />
92 The Walther Collection<br />
Santu Mofokeng The Black Photo Album / Look at Me: 1980-1950<br />
94 The Walther Collection<br />
Martina Bacigalupo Gulu Real Art Studio<br />
96 The Walther Collection<br />
Tamar Garb (ed.) Distance and Desire: Encounters with the African<br />
Archive. African Photography from The Walther Collection<br />
98 Artur Walther (ed.) African Photography from The Walther Collection<br />
100 Fazal Sheikh Ether<br />
102 Jim Goldberg Rich and Poor<br />
104 Philip Brookman Redlands<br />
106 Juergen Teller Woo!<br />
108 Håkan Ludwigson Balls and Bulldust<br />
110 Harf Zimmermann BRAND WAND<br />
112 Michael von Graffenried Bierfest<br />
114 Koto Bolofo and Claudia Van Ryssen-Bolofo The Prison<br />
116 Koto Bolofo Rolls-Royce<br />
118 Jason Schmidt Artists II<br />
120 Jim Dine A Printmaker’s document<br />
122 Nouhad Makdissi (ed.) Beirut Mission. Photos 2009-2011<br />
124 Philippe Séclier un voyage américain – an american journey<br />
126 David Campany (ed.) Walker Evans: the magazine work<br />
128 EDITIONS<br />
130 Nicolas Pages and Benoît Peverelli (eds.) Balthus – The Last Studies<br />
134 Roni Horn Haraldsdóttir, Part Two<br />
136 Lewis Baltz Venezia Marghera<br />
138 Chuck Close Scribble Book: Self-Portrait<br />
140 Guido Mocafico Stilleven<br />
142 NEW RELEASES<br />
144 Bruce Davidson Subway<br />
146 Karl Lagergeld and Carine Roitfeld The Little Black Jacket (new expanded<br />
edition)<br />
148 Bryan Adams Exposed<br />
150 Isamu Noguchi A Sculptor’s World<br />
152 Arnold Odermatt Karambolage<br />
154 Arnold Odermatt On Duty<br />
156 Arnold Odermatt Off Duty<br />
158 Yves Marchand and Romain Meffre The Ruins of Detroit<br />
160 Britt Salvesen New Topographics<br />
162 John Kobal Foundation (ed.) Glamour of the Gods<br />
164 Munken Works<br />
173 Backlist<br />
This catalogue is not for sale • © 2013 for the images by the artists • © 2013 for the texts by the authors • Scanning by Steidl’s digital darkroom • Production and<br />
printing by Steidl • Steidl, Düstere Str. 4, 37073 Göttingen, Germany • Phone +49 551 49 60 60 / Fax +49 551 49 60 649 • mail@steidl.de • www.steidl.de<br />
All rights reserved • Printed in Germany by Steidl • ISBN 978-3-86930-701-5<br />
5
6<br />
How to contact us<br />
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7
8<br />
Distribution<br />
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9
10<br />
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11
Left: Photo by Koto Bolofo<br />
s<br />
2012/2013 Book Awards<br />
Stiftung Buchkunst: Die schönsten deutschen Bücher /<br />
Best Designed Books from Germany 2012<br />
Karl Lagerfeld and Carine Roitfeld<br />
The Little Black Jacket<br />
The Paris Photo-Aperture Foundation PhotoBook Award 2012<br />
PhotoBook of the Year<br />
Anders Petersen<br />
City Diary<br />
Deutscher Fotobuchpreis / German Photobook Award 2013<br />
Gold Medal<br />
Adam Bartos<br />
Darkroom<br />
Silver Medal<br />
Mikhael Subotzky<br />
Retinal Shift<br />
Chris Killip<br />
arbeit/work<br />
Alber Elbaz<br />
Lanvin<br />
Berenice Abbott<br />
Documenting Science<br />
Manfred Heiting / Roland Jaeger (eds.)<br />
Autopsie I – Deutschsprachige Fotobücher 1918 bis 1945<br />
PHotoEspaña 2013<br />
The Best Photography Book of the Year<br />
Karl Lagerfeld and Carine Roitfeld<br />
The Little Black Jacket<br />
Mention of honor in international category<br />
Keizo Kitajima<br />
Photo Express: Tokyo<br />
Nominated for FILAF – Meilleur Livre sur l’Art 2013<br />
John Cohen<br />
The high & lonesome sound –<br />
The legacy of Roscoe Holcomb<br />
13
Berenice Abbott
THE<br />
BERENICE<br />
UNKNOWN<br />
ABBOTT<br />
15
16<br />
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Berenice Abbott was born in Springfield, Ohio, in 1898. After a difficult childhood she spent one semester at Ohio State<br />
University in 1917 before beginning a new life in New York City in 1918. She soon became part of the artistic community<br />
in that city and, after many false starts, became an American in Paris where she began to explore photography in 1923,<br />
as an assistant to her friend Man Ray. Within a year she was taking her own photographs. Her first one-woman show<br />
was a success in 1926 and for the next 65 years she was a dominant figure in American photography, mastering every<br />
aspect of the medium. Abbott’s monumental project, Changing New York, the unique way in which she linked science,<br />
natural phenomena and art in photography and establishing the reputation of Eugène Atget are but three highlights of<br />
her extraordinary career.<br />
Abbott returned to New York in 1929. 1935 was an important year in her career. In that year she photographed rural<br />
America on her own, producing a body of work similar to the best of the Farm Security Administration photographers,<br />
officially undertook her Changing New York project under the auspices of the Federal Arts Project and founded the photo<br />
graphy department at The New School in New York City, where she continued to teach until the late 1950s.<br />
The publication of Changing New York brought the project to a close in 1939 and Abbott embarked on a new photographic<br />
endeavor, Documenting Science, as well as compiling A Guide To Better Photography, perhaps the finest<br />
overall photography guide ever written by a major American photographer. The book, published in 1941, remained in<br />
print for many years and was constantly updated. A revised New Guide to Better Photography appeared in 1953.<br />
The documentation of science was Abbott’s focus for two decades, between the years 1940 and 1960. Her pursuit<br />
of scientific photography culminated in three years of work with the Physical Science Study Committee at the<br />
Massachusetts Institute of Technology from 1959 to 1961, during which she produced hundreds of remarkable photo<br />
graphs of natural phenomena that were not only scientifically accurate but were exceptional works of art.<br />
During this period she also undertook other photographic projects, notably the little known U.S. 1 trip in 1954 that took<br />
her from northern Maine to southern Florida on that famous American highway, compiled and wrote The World of Atget<br />
(1964), and finally, in 1968, after forty years of promoting and printing the work of the French master, transferred the<br />
Atget Collection to the Museum of Modern Art.<br />
She “retired” to Maine in 1966 but remained active for the next twenty-five years, producing many portfolios of her photographs,<br />
working on book projects, organizing and supervising exhibitions, printing her work, training interns and,<br />
when it was appropriate, occasionally undertaking a new photographic project. She died at her lakeside home in 1991,<br />
with the knowledge that her accomplishments in the field of photography were more wide-ranging than any of her<br />
contemporaries.’
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Hank O’Neal was born in 1940 and, in addition to photography, his career has included the world of government,<br />
education and record and concert production. In 1970, O’Neal took what he considers his first serious photographs<br />
and in 1972 met Berenice Abbott, with whom he worked closely for the next ni<strong>net</strong>een years. About the same time he<br />
met André Kertész, Walker Evans and all the other living FSA photographers and many other great photographic artists<br />
who all were to influence him. His photographs have been widely exhibited and reproduced since that time. O’Neal<br />
published his first book in 1973 but his first to gain wide spread attention was A Vision Shared (1976). Steidl will re -<br />
issue this important work in the near future. He has published a dozen other books on various subjects, mostly related<br />
to photography, music or both, and in addition to the reissue of A Vision Shared, Steidl will release four other new<br />
books by O’Neal, You’ve Got To Do A Damn Sight Better Than That, Buster, a memoir of his experiences working with<br />
Abbott, Berenice Abbott: In Her Own Words, Berenice Abbott’s Maine – The Color Photographs, and Maine 1960s –<br />
1970s (with Berenice Abbott). The five volumes included in The Unknown Abbott (2013), of which he is co-editor, is<br />
his most recent book project. Hank O’Neal currently resides in New York City.<br />
Ron Kurtz was born in New York City in 1932. A graduate of MIT, Kurtz had a long career in the high tech materials<br />
industry. He was president of Kulite Tungsten Corporation, a leader in the use of tungsten alloys in aerospace and medical<br />
applications, until he sold the company in 1997.<br />
A lifelong interest in photography led him to begin collecting fine art photographs, concentrating on the “Golden Age<br />
of Photography” between the World Wars and spanning from Berenice Abbott to Edward Weston. In 1985 he acquired<br />
the Berenice Abbott Archive. After donating a large part of it to various museums and institutions, he established<br />
Commerce Graphics to administer the commercial aspects of Abbott’s work. For many years, Commerce Graphics has<br />
been involved in the promotion and preservation of Abbott’s legacy and has provided material for many exhibitions, including<br />
the recent large retrospective of her work shown at both the Jeu De Paume in Paris in February 2012, the Art<br />
Gallery of Ontario in Toronto in May 2012 and another one of her science work at the MIT Museum in May 2012.<br />
Kurtz has been a trustee of MIT since 1994. He established the Berenice Abbott Photography Lab for the teaching of<br />
darkroom photography and a gallery in the MIT Museum devoted to photographic exhibitions. Kurtz has been co-editor<br />
of the series of books of Abbott’s work published by Steidl, including the award-winning two volume retrospective<br />
Berenice Abbott (2008), more recently the award-winning Berenice Abbott – Documenting Science (2012) and the<br />
upcoming series The Unknown Abbott.<br />
Commerce Graphics: In 1985 Ron Kurtz acquired the Berenice Abbott archive. After donating a large number of her<br />
photographs to various museums and institutions, he established Commerce Graphics to administer the commercial<br />
aspects of Abbott’s work.<br />
Since that time Commerce Graphics was a continuing source for her photographs and has promoted her legacy through<br />
books, publications, and exhibitions. In 1988 Commerce Graphics began representing Arnold Newman as well and<br />
continued until his death. In 2002 the company moved to an office and gallery in a century-old converted factory in New<br />
York’s Upper East Side, where there were numerous exhibitions of Abbott’s work for many years.<br />
In January 2013 the gallery closed with the retirement of Ron Kurtz. The representation of both Abbott and Newman<br />
continues with Ron’s good friend, Howard Greenberg, at the Howard Greenberg Gallery in New York.<br />
17
18<br />
THE<br />
BERENICE<br />
UNKNOWN<br />
ABBOTT<br />
Berenice Abbott was one of the most versatile photographic artists of the twentieth century and her work has been<br />
published and publicized since the beginning of her career in 1925. She is best known for her Paris portraits of the<br />
1920s and her documentation of New York City in the 1930s but, like most great artists, Abbott’s reputation has rested<br />
on a small portion of her life’s work. For every time one of her most famous photographs has been published there are<br />
many others that could have served the same purpose but were not used because they are less well known.<br />
In Abbott’s case there is an unusually large body of unknown work because during the most potentially creative time of<br />
her life, the circumstances of her existence were very complicated, largely due to lack of work and income, particularly<br />
between the years 1929 to 35 and 1940 to 1959. Many of the photographs she did manage to create in those years<br />
were not sufficiently commercial to attract a publisher and she was financially unable to publicize them on her own,<br />
develop a project to its natural conclusion or, in some instances, even undertake a project of interest. The Unknown<br />
Abbott attempts to correct this situation and make some of Abbott’s outstanding but largely unknown work available to<br />
a wider public.<br />
Gerhard Steidl had published the two volume Berenice Abbott in 2008 and Documenting Science in 2012. These<br />
books are currently out of print but are going to be reissued by Steidl in the near future. Steidl met with the editors Hank<br />
O’Neal and Ron Kurtz in late January 2011 to discuss future Abbott projects. This was when they began thinking of a<br />
series of Abbott books, dealing with various aspects of her career. Hank O’Neal and Ron Kurtz have chosen to present<br />
five volumes of work, ranging from her earliest photographs in New York City to documents of American cities before<br />
the Civil War, vigorous lumberjacks in California’s High Sierra Mountains, the sophisticated bohemia of Greenwich<br />
Village as well as the amusements of Daytona Beach.<br />
The Unknown Abbott is a very ambitious project that will present hundreds of outstanding Abbott images for the first<br />
time. Her reputation is already very secure, but these previously unknown images will further clarify the range of her photographic<br />
activity beyond her portraits in Paris, Changing New York and Documenting Science.
Limited edition of 2,000 sets<br />
19
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Volume I<br />
New York — Early Work 1929–1931<br />
Berenice Abbott returned to New York from Paris in 1929. Her plan was to continue her career as a portraitist and<br />
begin to document the city she’d come to love. The Crash of 1929 sidetracked Abbott; her portrait business collapsed<br />
and she was unable to fund her documentary project of the city. Undaunted, she continued to photograph New York<br />
with a small, hand-held camera, making sketches for large format photographs she wished to take in the future. These<br />
photographs are Abbott’s first work in New York and are not only extraordinary but have rarely been seen or published.<br />
240 pages, 113 tritone plates<br />
21
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Volume II<br />
The American Scene, 1930–1935<br />
The great American economic depression of the early 1930s hit Abbott very hard. Portraits and other photographic<br />
assignments were a luxury most people could not afford. As she struggled during these years Abbott did undertake three<br />
projects, two with the support of the architectural historian, Henry Russell Hitchcock, and one on her own.<br />
The two Hitchcock assignments resulted in photographic trips throughout America in 1933 and 1934, and exhibitions<br />
in 1934 and 1936, entitled American Cities Before the Civil War – The Urban Vernacular of the Thirties, Forties and<br />
Fifties and, respectively, The Architecture of H. H. Richardson. Abbott also undertook a photographic journey in 1935<br />
that took her to Tennessee, West Virginia, Pennsylvania, Ohio and Illinois where she photographed a number of subjects<br />
reminiscent of the best work of the Farm Security Administration photographers who were just beginning their<br />
monumental project. These photographs are not only outstanding but are largely unknown since they have been rarely<br />
seen since the 1930s.<br />
200 pages, 88 tritone plates<br />
23
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Volume III<br />
Deep Woods, 1943 and 1967<br />
In 1943, Abbott was asked to document the Red River Logging Company in California’s High Sierra Mountains. It was<br />
her first assignment of this sort but not the last; she would document the remote Maine holdings of the Great Northern<br />
Paper Company in the winter of 1967. Both of these assignments led to outstanding photographs. The Red River photographs<br />
were widely seen in a series of exhibitions in 1943/44 and some of the 1967 photographs were reproduced<br />
in Abbott’s book A Portrait of Maine (1967). This is the first publication for the majority of these images.<br />
240 pages, 110 tritone plates<br />
25
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Volume IV<br />
Greenwich Village, 1935–1950<br />
In 1918, Abbott left Ohio for New York’s Greenwich Village where she lived until she went to Europe in the early 1920s.<br />
The “village” became her home again in the mid-1930s and she maintained her Commerce Street studio until she<br />
“retired” to Maine in 1966. The first of her Greenwich Village photographs date from 1935 and were part of her p roject<br />
Changing New York. She also took portraits of many of her celebrated friends who also lived or worked in this special<br />
part of New York City and then in 1946–7 took many more photographs that were included in the book, Greenwich<br />
Village – Today and Yesterday. This is the first time Abbott’s Greenwich Village photographs have been presented as<br />
a group, the first time many have been seen since publication in 1947 and the first publication of many of the images.<br />
216 pages, 100 tritone plates<br />
27
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Volume V<br />
U.S.1, U.S.A.<br />
The automobile has long been pervasive in American life and in 1951 Abbott began to feel the passenger car was<br />
doing irreparable harm to the American landscape. She wanted to translate her feelings into photographs and in 1954,<br />
this project became possible. She traveled the length of U.S. Route 1, from Ft. Kent, Maine, to Key West, Florida, and<br />
back again, accumulating thousands of pictures. It was a project that anticipated what Robert Frank was to do a few<br />
years later with The Americans.<br />
Abbott tried repeatedly to sell her project to publishers throughout the 1950s and it was always rejected. This is the<br />
first publication for almost all of these photographs, and is the last great, unpublished Abbott project. It also includes<br />
very atypical subject matter and her first experimental work in colour.<br />
348 pages, 146 tritone and colour plates<br />
29
BERENICE<br />
THE<br />
UNKNOWN<br />
ABBOTT<br />
Vol. I: New York – Early Work 1929–1931<br />
240 pages, 113 tritone plates<br />
Vol. II: The American Scene, 1930–1935<br />
200 pages, 88 tritone plates<br />
Vol. III: Deep Woods, 1943 and 1967<br />
240 pages, 110 tritone plates<br />
Vol. IV: Greenwich Village, 1935–1950<br />
216 pages, 100 tritone plates<br />
Vol. V: U.S. 1, U.S.A.<br />
348 pages, 146 tritone and colour plates<br />
Edited by Ron Kurtz and Hank O’Neal<br />
Essays by Ron Kurtz and Hank O’Neal<br />
Book design by Gerhard Steidl and Duncan Whyte<br />
11.6 x 12.4 in. / 29,5 x 31,5 cm<br />
Tritone and four-colour process<br />
5 clothbound hardcover books with tipped-in photos on front,<br />
housed in a handmade slipcase<br />
€ 285.00 / £ 240.00 / US$ 350.00<br />
ISBN 978-3-86930-650-6<br />
Limited edition of 2,000 sets
Saul Leiter
SAUL LEITER<br />
Early Black and White<br />
33
SAUL LEITER<br />
Early Black and White<br />
Volume I<br />
Interior<br />
The first volume of Early Black and White depicts black and white photos by Saul Leiter taken at his home, his studio<br />
and neighbourhood. With his camera he discovers light and shadow, obvious and hidden details. He portrays with great<br />
intimacy friends and family members as well as his lovers and models, which take up the major part of Interior.<br />
204 pages, 106 tritone plates<br />
35
SAUL LEITER<br />
Early Black and White<br />
Volume II<br />
Exterior<br />
In their framing and composition Saul Leiter’s black-and-white street photographs are perhaps more radical and ahead<br />
of their time than his early colour work. They capture the photographer’s spontaneous response to fleeting perceptions<br />
of figures and gestures as well as to subtle formal relationships and patterns of shadow and light in the urban settings.<br />
xxx<br />
184 pages, 89 tritone plates<br />
37
38<br />
SAUL LEITER<br />
Early Black and White<br />
Edited by Howard Greenberg and Bob Shamis,<br />
with the assistance of Margit Erb<br />
Text by Max Kozloff, with an additional essay by Jane Livingston<br />
Book design by Gregory Wakabayashi<br />
Volume I: 204 pages with 106 photographs<br />
Volume II: 184 pages, including 4 gatefolds,<br />
with 89 photographs<br />
7.9 x 8 in. / 20 x 20,3 cm<br />
Tritone<br />
Two clothboun d hardcover books with dust jackets,<br />
housed in a handmade slipcase<br />
€ 75.00 / £ 60.00 / US$ 95.00<br />
ISBN 978-3-86521-413-3
The distinctive iconography of Saul Leiter’s early black and white photographs stems from his profound response to the<br />
dynamic street life of New York City in the late 1940s and 50s. While this technique borrowed aspects of the photodocumentary,<br />
Leiter’s imagery was more shaped by his highly individual reactions to the people and places he<br />
encountered. Like a Magic Realist with a camera, Leiter absorbed the mystery of the city and poignant human experiences.<br />
Together with Early Color, also published by Steidl, Early Black and White shows the impressive range of Leiter’s<br />
early photography.<br />
Saul Leiter was born in Pittsburgh in 1923, the son of a rabbi. His work is held in the permanent collections of the<br />
Museum of Fine Arts in Houston, the Art Institute of Chicago, the Baltimore Museum of Art, the Victoria and Albert<br />
Museum in London, as well as in other public and private collections.<br />
Co-published with The Howard Greenberg Library<br />
39
Bruce Davidson
BRUCE<br />
DAVIDSON<br />
IN COLOR<br />
41
42<br />
Martha’s Vineyard, 1979–1988
Martha’s Vineyard, 1979–1988<br />
43
44<br />
Katz’s Delicatessen, 2004
Katz’s Delicatessen, 2004<br />
45
46<br />
BRUCE<br />
DAVIDSON<br />
IN COLOR<br />
Edited by Bruce Davidson and Amina Lakhaney<br />
Text by Bruce Davidson<br />
Book design by Steidl Design / Duncan Whyte<br />
280 pages<br />
11.6 x 12 in. / 29,5 x 30,5 cm<br />
251 photographs<br />
Four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 68.00 / £ 58.00 / US$ 85.00<br />
ISBN 978-3-86930-564-6
“I began to feel that color could articulate the grim reality in a way that black and white might not.”<br />
Bruce Davidson<br />
This volume presents Bruce Davidson’s personal selections from his lesser-known color archive. Ranging from a period<br />
of fifty-six years and counting, these images are representative of the photographer’s color career. Assignments from<br />
various magazines (Vogue, National Geographic, Life magazine) and commercial projects led him to photograph fashion<br />
(early 1960s), the Shah of Iran with his family (1964), keepers of French monuments (1988), the supermodel Kylie Bax<br />
(1997), and college cheerleaders (1989). He photographed in India and China, but also at home in New York, in<br />
Chicago, and along the Pacific Coast Highway. In 1968, Michelangelo Antonioni invited him to document the making<br />
of his film Zabriskie Point. Davidson also continued to pursue personal projects, e.g. photographing the Yiddish writer<br />
and Nobel Prize laureate Isaac Bashevis Singer (1972–75), the New York City subway (1980), and Katz’s Delicatessen<br />
(2004). Often staying on in a country after an official assignment, he documented Welsh coalfields, family holidays in<br />
Martha’s Vineyard, and travelled through Patagonia and Mexico.<br />
Born in 1933, Bruce Davidson began photographing at the age of ten in Oak Park, Illinois. Davidson studied at the<br />
Rochester Institute of Technology and Yale University before being drafted into the army. After leaving military service<br />
in 1957, he freelanced for Life and in 1958 became a member of Magnum Photos. Davidson’s work is held in many major<br />
museum collections and his awards include a Guggenheim fellowship (1961) and the first National Endowment for the<br />
Arts Grant in Photography (1967). In 2011 he was awarded an honorary doctorate in Fine Arts from the Corcoran<br />
College of Art and Design. Steidl has published Davidson’s Circus (2007), Outside Inside (2010), Subway (2011),<br />
and Black & White (2012).<br />
BRUCE<br />
DAVIDSON<br />
IN COLOR<br />
47
Afghan Gold<br />
Afghan Gold<br />
Luke Powell | Photographs 1973–2003<br />
49
50<br />
xxx
xxx<br />
51<br />
51
52<br />
xxx
xxx<br />
53<br />
53
54<br />
Afghan Afghan Gold<br />
Luke Powell | Photographs 1973–2003<br />
Texts and photographs by Luke Powell<br />
Book design by Luke Powell and Gerhard Steidl<br />
Volume I: 224 pages (photos)<br />
Volume II: 56 pages (text)<br />
16.5 x 12.2 in. / 42 x 31 cm<br />
206 photographs<br />
Four-colour process<br />
Clothbound hardcover book with dust jacket together with<br />
a text booklet housed in a handmade slipcase<br />
€ 125.00 / £ 100.00 / US$ 158.00<br />
ISBN 978-3-86930-648-3
While travelling overland to India from Europe in the fall of 1971, Luke Powell ran into the war between India and Pakistan,<br />
and he spent the following winter in neighbouring Afghanistan. Powell was stunned by the beauty of the country,<br />
the state of preservation of the culture, and by the Afghans’ ability to be totally self-sustaining. He returned nearly every<br />
year until 1978, when he left the country three days before a Communist coup. Powell’s ability to transform raw 35 mm<br />
film into refined printed images grew during 15 years when he printed his work with the legendary Dye Transfer Process.<br />
The Afghan Folio exhibition travelled to over 120 museums and galleries in North America and Europe, during the years<br />
when the Russians were occupying Kabul. In early 2000 the Taliban government invited Luke Powell to come back to<br />
Afghanistan, and later that year the Northern Alliance allowed him to travel alone in areas under their control. Through<br />
2003 Powell took photographs for the United Nations Demining Program for Afghanistan and other UN agencies. In<br />
Afghan Gold Luke Powell has tried to separate art from journalism and show only the beautiful, traditional side of<br />
Afghanistan. In the text, published in a separate volume, Powell acts as a spokesman for an essentially peace-loving<br />
people who have been at war for the last three decades, placing the images in an unusually broad historical context.<br />
Luke Powell was born in 1946. He lives in Liverpool, Nova Scotia.<br />
55
Edward Burtynsky
BURTYNSKY WATER<br />
57
58<br />
xxx
xxx<br />
59<br />
59
60<br />
xxx
xxx<br />
61
62<br />
EDWARD BURTYNSKY WATER<br />
Texts by Edward Burtynsky, Wade Davis, Russell Lord<br />
Book design by Marcus Schubert<br />
228 pages<br />
xxx<br />
14.2 x 11.4 in. / 36 x 29 cm<br />
114 photographs<br />
Four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 88.00 / £ 70.00 / US$ 110.00<br />
ISBN 978-3-86930-679-7
There is no life without water. Burtynsky’s new and highly anticipated book Water tells us the story of where water<br />
comes from, how we use it, distribute and waste it. Often using a bird’s-eye perspective, the photographer shows us<br />
its remote sources, remarkable ancient step-wells and mass bathing rituals, the transformation of desert into cities with<br />
waterfronts on each doorstep, the compromised landscapes of the American Southwest. Furthermore, Burtynsky explores<br />
the infrastructure of water management: the gigantic hydroelectric dams and terraced rice fields in the heart of<br />
China, the vast irrigation systems of America’s bread basket and the use of aquaculture. The colour photographs in this<br />
book are poetic and at the same time highly relevant: they reveal another vital component of our life on earth that drives<br />
the bloom of civilization, and foreshadow the extent to which our future depends on our everyday behaviour in dealing<br />
with this increasingly scarce resource.<br />
Edward Burtynsky was born in 1955 and is one of the world’s most respected photographers. His remarkable photographic<br />
depictions of global industrial landscapes are included in the collections of over fifty major museums including<br />
the National Gallery of Canada, the Museum of Modern Art and the Guggenheim Museum in New York, the Reina Sofia<br />
Museum (Madrid), and the Los Angeles County Museum of Art. Burtynsky’s distinctions include the TED Prize, The<br />
Outreach award at the Rencontres d’Arles, and The Flying Elephant Fellowship. In 2006 he was awarded the title of<br />
Officer of the Order of Canada and holds four honorary doctorate degrees, with two more to be awarded in 2013.<br />
Exhibition: Premier of touring exhibition organized by the New Orleans Museum of Art in association with the<br />
Contemporary Arts Center, New Orleans, USA, 5 October 2013 to 12 January 2014<br />
xxx<br />
63
Jock Sturges
Jock Sturges<br />
Fanny<br />
65
70<br />
Jock Sturges<br />
Fanny<br />
Edited with Walter Keller<br />
Introduction by Walter Keller<br />
Book design by Jock Sturges and Bernard Fischer<br />
200 pages<br />
xxx<br />
14.3 x 11.3 in. / 36,4 x 28,7 cm<br />
139 black-and-white and 31 colour photographs<br />
Tritone and four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 80.00 / £ 65.00 / US$ 95.00<br />
ISBN 978-3-86930-694-0
xxx<br />
“Central to my work in photography is the notion that the more one knows, generally about life and<br />
art and more specifically about who the person before your camera is, the better are your chances<br />
of winning through to successful work. Learning what is significant takes time. Truth is shy.”<br />
Jock Sturges<br />
Fanny is an extended portrait of a young girl’s transition from child to woman. Made over a period of 23 years, the<br />
images are at once beautiful in their detail of light and identity and also frankly anthropological in their descriptive effect.<br />
A naturist since birth, Fanny’s comfort with nudity and her natural self has allowed Sturges to draw an engaging portrait<br />
of the evolution of a human being with few social distractions. His access to the girl’s and woman’s character is direct<br />
and fascinating. Long known for his extended portraits of children and adolescents, this work is strong evidence of<br />
Sturges’ permanent commitment to the people in his work.<br />
Jock Sturges is a fine art photographer living in Seattle, Washington. His work is included in the collections of The<br />
Museum of Modern Art and the Metropolitan Museum of Art in New York, The Bibliothèque Nationale in Paris and the<br />
Museum of Modern Art in Frankfurt/Germany. His published works include The Last Day of Summer (1992), Radiant<br />
Identities (1994), 25 Years (1994), Evolutions of Grace (1994), Jock Sturges (1996), Jock Sturges – New Work<br />
1996-2000 (2000), Notes (2005) and Mit Jock Sturges Familiär (2012).<br />
71
72<br />
THE ROBERT FRANK PROJECT
THE ROBERT FRANK PROJECT<br />
Robert Frank<br />
Household Inventory Record<br />
Household Inventory Record is a new readymade in the series of Robert Frank’s late visual diaries. Composed of<br />
polaroids, the thin and upright volume continues the journey into Frank’s realm and imagery, showing us snapshots<br />
from his travels, of his friends and everyday curiosities.<br />
Robert Frank was born in Zurich, Switzerland, in 1924 and emigrated to the United States in 1947. He is best known<br />
for his seminal book The Americans, first published in 1959, which gave rise to a distinctly new form of photobooks,<br />
and his experimental film Pull My Daisy, made in 1959. Frank’s other important projects include the books Black White<br />
and Things (1954), Lines of My Hand (1972), and the film Cocksucker Blues for the Rolling Stones (1972). He divides<br />
his time between New York City and Nova Scotia, Canada.<br />
Robert Frank<br />
Household Inventory Record<br />
Book design by Robert Frank and Gerhard Steidl<br />
24 pages<br />
5.5 x 11.4 in. / 14 x 29 cm<br />
28 photographs<br />
Four-colour process<br />
Softcover<br />
€ 30.00 / £ 25.00 / US$ 35.00<br />
ISBN 978-3-86930-660-5<br />
73
William Eggleston<br />
At Zenith<br />
Pictures from the Wedgewood Blue Series<br />
In April 1979, a book of fifteen colour photographs by William Eggleston was published in a limited edition of twenty.<br />
The photographs were taken from the second chapter of an unpublished larger work entitled Wedgewood Blue. Amidst<br />
his publications Chromes (2011), Los Alamos Revisited (2012), and the upcoming Democratic Forest (2014) and<br />
Election Eve (2016), all documenting his lifetime work, At Zenith constitutes a calm and experimental intermezzo from<br />
Eggleston’s familiar loudness and intensity of colours. The photographer pointed his camera at the sky to focus on the<br />
clouds rolling by.<br />
William Eggleston, born in 1939 in Memphis, is one of the most important contemporary American photographers.<br />
From the 1970s onwards, his work has significantly contributed to the recognition of colour photography as an artistic<br />
medium. Eggleston has published his work extensively, and it has been shown in many major exhibitions around the<br />
world. He continues to live and work in Memphis, and travels considerably for photographic projects.<br />
WILLIAM EGGLESTON<br />
AT ZENITH<br />
Steidl<br />
William Eggleston<br />
At Zenith<br />
Pictures from the Wedgewood Blue Series<br />
Text by William Eggleston III<br />
Book design by Gerhard Steidl<br />
88 pages<br />
13.4 x 10.2 in. / 34 x 26 cm<br />
40 photo plates<br />
Four-colour process with UV-varnish<br />
Clothbound hardcover with a tipped-in photograph<br />
and an acetate jacket<br />
€ 65.00 / £ 48.00 / US$ 78.00<br />
ISBN 978-3-86930-710-7<br />
75
Ken Schles<br />
Invisible City<br />
“The real image of New York is rarely clear to anyone living in it, except as tenacious sensation. …<br />
Ken Schles’ Invisible City is a picture book that comprehends both the shambles and the thrall.”<br />
Guy Trebay, The Village Voice<br />
For a decade, Ken Schles watched the passing of time from his Lower East Side neighbourhood. His camera fixed the<br />
instances of his observations, and these moments became the foundation of his invisible city. Friends and architecture<br />
come under the scrutiny of his lens and, when sorted and viewed in the pages of this book, a remarkable achievement<br />
of personal vision emerges.<br />
Twenty-five years later, Invisible City still has the ability to transfix the viewer. A pe<strong>net</strong>rating and intimate portrayal of a<br />
world few had entrance to – or means of egress from –, Invisible City stands alongside Brassai’s Paris de Nuit and van<br />
der Elsken’s Love On The Left Bank as one of the 20th century’s great depictions of nocturnal bohemian experience.<br />
Documenting his life in New York City’s East Village during its heyday in the tumultuous 1980s, Schles captured its look<br />
and attitude in delirious and dark verité. Long out of print, this “missing link” in the history of the photographic book is<br />
now once again made available. Using scans from the original negatives and Steidl’s five plate technique to bring out<br />
nuance and detail never seen before in print, this masterful edition transcends the original, bringing this underground<br />
cult classic into the 21st century for a new generation to discover.<br />
Ken Schles was born in Brooklyn, New York, in 1960 and has been making photographic books for over a quarter of a<br />
century. He studied photography at the Cooper Union for the Advancement of Science and Art with William Gedney<br />
and was a student of the legendary Lisette Model.<br />
Ken Schles<br />
Invisible City<br />
Texts by Lewis Mumford, Jorge Luis Borges,<br />
Franz Kafka, George Orwell, Jean Baudrillard<br />
Book design by Ken Schles and Jack Woody<br />
80 pages<br />
9.1 x 6.8 in. / 23,2 x 17,3 cm<br />
62 photographs<br />
Quadratone<br />
Clothbound hardcover with dust jacket<br />
€ 30.00 / £ 25.00 / US$ 35.00<br />
ISBN 978-3-86930-691-9<br />
77
Ken Schles<br />
Night Walk<br />
Twenty-five years after the printing of his seminal 1988 book, Invisible City, Ken Schles revisits his archive and fashions<br />
a narrative of lost youth: a delirious, peripatetic walk in the evening air of an irretrievable Downtown New York as he saw<br />
and experienced it. Night Walk is a substantive and intimate chronicle of New York’s last pre-Inter<strong>net</strong> bohemian outpost,<br />
a stream of consciousness portrayal that peels back layers of petulance and squalor to find the frisson and striving<br />
of a life lived amongst the rubble. Here, Schles embodies the flâneur as Sontag defines it, as a “connoisseur of<br />
empathy,” “cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous<br />
extremes.” We see in Night Walk a new and revelatory Ulysses for the 21 st century: a searching tale of wonder and<br />
desire, life and love in the dying hulk of a ruined American city.<br />
Ken Schles was born in Brooklyn, New York, in 1960 and has been making photographic books for over a quarter of a<br />
century. He studied photography at the Cooper Union for the Advancement of Science and Art with William Gedney<br />
and was a student of the legendary Lisette Model.<br />
Ken Schles<br />
Night Walk<br />
Texts by Ken Schles, T.S. Eliot<br />
Book design by Ken Schles<br />
162 pages<br />
9.1 x 6.8 in. / 23,2 x 17,3 cm<br />
107 photographs<br />
Quadratone<br />
Clothbound hardcover with dust jacket<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86930-692-6<br />
79
Leonard Freed<br />
Made in Germany<br />
The American photographer Leonard Freed travelled to Germany for the first time in 1954. Curious and yet from a safe<br />
distance, he observed the people in their social surroundings, at work, at street festivals, in public parks, in the streets<br />
and against the industrial backdrop of the Ruhr Valley. The Germany he saw was deeply cursed with the effects of war<br />
and the NS regime – despite the country’s reconstruction, industrial development and economic success. Freed published<br />
his extensive report Made in Germany for the first time with Grossman Publishers in New York in 1970. The<br />
present reprint accompanies the same-named exhibition at Museum Folkwang in Essen and comes with a booklet<br />
providing extra information about Freed’s approach and his times. The booklet also contains hitherto unpublished<br />
images, documents, and writing by Freed, spanning his fifty years of photographing Germany.<br />
Leonard Freed was born in 1929. He was a noted American photojournalist and member of Magnum Photos. During<br />
his life Freed produced thirteen books and dozens of photo essays. His photographs are owned by the Museum of<br />
Modern Art, the Metropolitan Museum of Art, Museum Folkwang, and the J. Paul Getty Museum. Recent Freed projects<br />
include a reprinting of his classic Black in White America and the publication of his posthumous book This Is the Day:<br />
The March on Washington. He died in 2006.<br />
Exhibition: Museum Folkwang, Essen, Germany, 4 May to 4 August 2013<br />
Vol. I Vol. II<br />
Leonard Freed<br />
Made in Germany<br />
Texts by Paul M. Farber and Florian Ebner<br />
160 + 64 pages<br />
8.7 x 10.2 in. / 22 x 26 cm<br />
130 photographs<br />
Tritone<br />
Clothbound hardcover with a dust jacket,<br />
together with a text booklet,<br />
housed in a sleeve<br />
€ 48.00 / £ 40.00 / US$ 65.00<br />
ISBN 978-3-86930-684-1<br />
81
Bryan Adams<br />
Wounded: The Legacy of War<br />
In his new book, Wounded: The Legacy of War, Bryan Adams presents portraits of young British soldiers who have<br />
suffered life-changing injury in Iraq and Afghanistan or during training. His lens bares witness to their scars, disability<br />
and disfigurement. This unexpected directness challenges the viewer. At the same time the images reveal the sheer grit<br />
and bravery of the victims who, despite personal sacrifice, live each day with continued vim, vigour and dignity. What<br />
we see are staggering portraits of inspiring individuals who whilst not faltering have stood the test of war and lived to<br />
tell the tale. The images come with haunting interviews which provide a narrative to each personal journey to recovery.<br />
Bryan Adams began his photographic career in the late ni<strong>net</strong>ies and in 2012 published his first photographic book,<br />
Exposed, which features portraits of friends and colleagues in the entertainment, fashion and art industries. The touring<br />
exhibition Exposed combines the images of both volumes.<br />
Exhibition: Galerie Ostlicht, Vienna, 19 June to 22 September 2013<br />
Bryan Adams<br />
Wounded: The Legacy of War<br />
192 pages<br />
9.4 x 12.6 in. / 24 x 32 cm<br />
58 photographs<br />
Tritone<br />
Clothbound hardcover with a tipped-in photo<br />
€ 65.00 / £ 50.00 / US$ 80.00<br />
ISBN 978-3-86930-677-3<br />
83
Erwin Blumenfeld<br />
Blumenfeld Studio<br />
“Every page is seen by millions of people and we are responsible for the taste of tomorrow. Our<br />
pictures are the essence itself of a page and every page has to have its own face, its own spirit,<br />
to catch millions of eyes or it’s only a scrap of printed matter.”<br />
Erwin Blumenfeld<br />
Erwin Blumenfeld was one of the most sought-after and best-paid fashion photographers of his time, shooting for<br />
Vogue, Harper’s Bazaar, Cosmopolitan and Life. Influenced by the surrealists and the artistic avant-gardes, he challenged<br />
the genre’s conventions in his early fashion photographs with fascinating originality and perfection.<br />
Although Blumenfeld left to posterity a considerable oeuvre of colour photographs, so far only his magazine spreads<br />
were really known. For this volume, the original slides were recovered from Blumenfeld’s extensive archive and digitally<br />
reconstructed. His compositions can thus be seen for the first time in their original form and colourfulness.<br />
Erwin Blumenfeld was born in Berlin in 1897 and began photographing in the 1930s. He first worked in the Netherlands<br />
and in Paris and emigrated to the US in 1941. He managed to establish himself as a fashion photographer in New York<br />
in the 1940s and 1950s. He died in Rome in 1969.<br />
This book is accompanying an exhibition produced by Musée Nicéphore Niépce, Chalon-sur-Saône (France) and<br />
Museum Folkwang, Essen<br />
Erwin Blumenfeld<br />
Blumenfeld Studio<br />
Texts by François Cheval, Ute Eskildsen, Nadia Blumenfeld Charbit,<br />
Emilie Bernard, Sylvain Charles, Rudolf Gschwind and Helen Adkins<br />
Book design by Steidl Design / Bernard Fischer<br />
208 pages<br />
8.7 x 10.6 in. / 22 x 27 cm<br />
275 photographs<br />
Four-colour process<br />
Paperback<br />
€ 28.00 / £ 24.00 / US$ 34.00<br />
ISBN 978-3-86930-531-8<br />
85
Andrew Savulich<br />
THE CITY<br />
New York spot news and street photography 1980–1995<br />
“If there’s one thing you can say about my work, it’s that it is compulsive, repetitive … obsessive.”<br />
Andrew Savulich<br />
Social and cultural transition is usually hard to gauge. New York in the 1980s and the first half of the 1990s was clearly<br />
a different place than it is now. The city was more violent and more street weird. Times Square was still wonderfully<br />
sleazy. Andrew Savulich is a photographer living and working in New York City. His work is a unique mix of spot news<br />
and street photography – capturing scenes of crime as well as everyday life. The startling immediacy of the moment prevails<br />
in his black-and-white images on which he provides handwritten captions. What at first seems like objective commentary<br />
soon reveals the photographer’s dry ironic tone, at times bordering on black humour.<br />
Andrew Savulich was born in Wilkes Barre, Pennsylvania, in 1949 and moved to New York in 1975. Starting out as a<br />
landscape architect, a construction worker, and eventually a freelance photographer he joined the New York Daily News<br />
in 1993 where he still works. His photographs have been published in Spy, The Independent, Tempo, Photonews, Art<br />
News and Artforum, among others, and are in the permanent collections of the Metropolitan Museum of Art and the ICP<br />
in New York. Savulich has exhibited in museums and galleries including Fabrik Fotoforum Hamburg, Camera Work<br />
Gallery (San Francisco), and the Toronto Photographers Gallery. He was awarded a National Endowment for the Arts<br />
Fellowship Grant in Photography in 1986 and an Ernst Haas Photographer Work Grant in 1992.<br />
ANDREW SAVULICH<br />
THE CITY<br />
STEIDL<br />
Andrew Savulich<br />
THE CITY<br />
New York spot news and street photography 1980–1995<br />
With an essay by Brendan Bernhard<br />
Book design by Andrew Savulich and Gerhard Steidl<br />
176 pages<br />
10.8 x 11.6 in. / 27,5 x 29,5 cm<br />
125 photographs<br />
Tritone<br />
Clothbound hardcover with a tipped-in photo<br />
€ 38.00 / £ 30.00 / US$ 48.00<br />
ISBN 978-3-86930-690-2<br />
87
Gleb Kosorukov<br />
Heroes of Labour<br />
or 100 from the Stakhanov mine<br />
“In some ways miners are modern saints. They know that one day they might not come back from<br />
the mine. Responsible for civilization’s biggest energy resource, their job is to some extent a<br />
sacrifice in the name of humankind.”<br />
Gleb Kosorukov<br />
On 31 August 1935 Alexej Stakhanov, a jackhammer operator at Central-Irmino coal mine, mined a record 102 tonnes<br />
of coal in 5 hours and 45 minutes (14 times his daily quota). The launch of an unprecedented state-run campaign for<br />
popularising extraordinary labour achievements made Stakhanov a Soviet hero par excellence. Soon after, his portrait<br />
appeared on the cover of Time Magazine. For the first time ever a worker was elevated to worldwide fame for his<br />
performance at work. Since then the term “Stakhanovism” has defined ecstatic labour and over-accomplishment at<br />
work as a form of heroism.<br />
On the 74th anniversary of Stakhanov’s achievement, Gleb Kosorukov began a photographic research project on the<br />
identity of modern miners as an archetype of the working class, affected by the changing value of material labour and<br />
decline of social justice. He took 100 portraits of miners during shift changes at the biggest mine in Europe, located in<br />
Eastern Ukraine, which bears the name of Stakhanov. Due to the neoliberal pressure of global capitalism and the radical<br />
changes in the nature of the labour market, Ukrainian mines are closing apace, more than 100,000 miners stand to<br />
loose their jobs within the next five years. Gleb Kosorukov’s work is an attempt to examine what is left of the miner-myth<br />
in the image of the worker-heroes of today.<br />
Gleb Kosorukov was born in a closed city – a secret scientific centre for strategic nuclear research in Urals, Russia.<br />
After completing a degree in nuclear physics at the National Research Nuclear Physics University in Moscow, he worked<br />
as a photographic journalist, covering Russia’s transition period for The New York Times and The Guardian. In 2000<br />
he moved to Paris where he worked shooting fashion editorials. Currently, his multimedia art and documentary projects<br />
occupy all of his time.<br />
Exhibition: Waterschei mine, Genk (Belgium),<br />
10 July to 10 September 2013<br />
Gleb Kosorukov<br />
Heroes of Labour<br />
or 100 from the Stakhanov mine<br />
Text by Gleb Kosorukov<br />
Book design by Gleb Kosorukov and Gerhard Steidl<br />
192 pages<br />
24 x 33 cm<br />
100 photographs<br />
Four-colour process<br />
Clothbound hardcover with a dust jacket<br />
€ 68.00 / £ 54.00 / US$ 80.00<br />
ISBN 978-3-86930-689-6<br />
89
Henry Wessel<br />
INCIDENTS<br />
“INCIDENTS is a picture book. A book without words. The content of this book resides in the appear<br />
ance of each photograph, its position in the arrangement, and in the totality of this experience.”<br />
Henry Wessel<br />
In 2012 Wessel assembled INCIDENTS, a book of 27 previously unpublished photographs. Decisive and succinct, each<br />
incident is laid down with the aesthetic immediacy of a snapshot, recalling Garry Winogrand’s quote that “there is<br />
nothing as mysterious as a fact clearly described.” As Wessel stated in a recent interview: “We can recognize and<br />
name what has been described but not what just happened, not what is going on, not what is about to happen. Once<br />
you accept the idea that all photographs are fictions, analogies for the things they represent, then you are more receptive<br />
to the meaning that is being suggested by that analogy, by that fiction. To be more specific, photographs are about<br />
something that would not exist without the photograph.”<br />
Born in New Jersey in 1942, Henry Wessel has been awarded two Guggenheim fellowships and three fellowships from<br />
the National Endowment for the Arts. His work is held in the permanent collections of major American, European and<br />
Asian museums. Wessel has worked with Steidl on seven previous publications of his work. He has exhibited extensively,<br />
including solo exhibitions at The Museum of Modern Art in New York and the Museum of Contemporary Art in Los<br />
Angeles.<br />
I N C I D E N T S<br />
Steidl<br />
Henry Wessel<br />
INCIDENTS<br />
Book design by John Doe<br />
64 pages<br />
11.6 x 11.6 in. / 29,5 x 29,5 cm<br />
27 photographs<br />
Tritone<br />
Clothbound hardcover with a tipped-in photo<br />
€ 40.00 / £ 30.00 / US$ 50.00<br />
ISBN 978-3-86930-697-1<br />
91
Santu Mofokeng<br />
The Black Photo Album / Look at Me: 1890-1950<br />
This book is a reproduction of an artwork, bearing the same title, by Santu Mofokeng. The work, which is as much a<br />
research project as it is a work of art, is comprised of private photographs collected, scanned, and retouched over a<br />
number of years by the artist. Each of the original images were commissioned by urban black working and middle-class<br />
families in South Africa between 1890 and 1950, a time when the government was entrenching its infamous policies<br />
towards those designated as “natives.” Painterly in style, the images evoke the artifices of Victorian photography and<br />
reveal something about how the people captured within the frame imagined themselves, asking meditative questions<br />
on the meaning of African imagery: “Who were these people?,” “What were their aspirations?,” “Are these images<br />
evidence of mental colonization or did they serve to challenge prevailing images of ‘The African’ in the western world?”<br />
In this work Mofokeng thus analyses the sensibilities, aspirations and self-image of the urban black population in South<br />
Africa and its desire for representation and social recognition in times of colonial rule and suppression.<br />
This book contains the complete sequence of slides with reproduced photographs and Mofokeng’s own texts. The<br />
Black Photo Album / Look at Me: 1890-1950 also features selections from Mofokeng’s field notes and the original, unretouched<br />
photographs, published for the first time.<br />
Santu Mofokeng was born in Johannesburg in 1956 and began his career as a street photographer in Soweto during<br />
the apartheid era. Having received the Ernest Cole Scholarship in 1991, he studied at the International Center of<br />
Photography in New York. He was the first Mother Jones Award winner for Africa in 1992. In 1998, Mofokeng received<br />
the Künstlerhaus Worpswede Fellowship and in 2002 a DAAD Fellowship in Berlin. His first international retrospective,<br />
Chasing Shadows, opened in May 2011 at Jeu de Paume in Paris. He represents Germany at the 55th International<br />
Art Exhibition – La Biennale di Venezia in 2013. Mofokeng lives and works in Johannesburg.<br />
Co-published with The Walther Collection<br />
Co-published with The Walther Collection<br />
Santu Mofokeng<br />
The Black Photo Album / Look at Me: 1890-1950<br />
Texts by Santu Mofokeng and James T. Campbell<br />
Book design by Lu<strong>net</strong>ta Bartz and Sabine Hahn / Steidl Design<br />
100 pages<br />
7.3 x 10.7 in. / 18,5 x 27 cm<br />
35 photographs<br />
Tritone<br />
Clothbound hardcover with a tipped-in photo<br />
€ 34.00 / £ 28.00 / US$ 45.00<br />
ISBN: 978-3-86930-310-9<br />
93
Martina Bacigalupo<br />
Gulu Real Art Studio<br />
This book shows a series of portraits found in the trash bin of the “Gulu Real Art Studio,” the oldest photographic studio<br />
in Gulu, Northern Uganda. The studio only has a machine that makes four ID images at a time, a number that most<br />
clients cannot afford, so the photographer takes single analog pictures, punches out the head with a special device, and<br />
discards the rest. In these faceless prints, one’s focus shifts to the subject’s individual posture and clothing, forming a<br />
typological portrayal of a community. Martina Bacigalupo also interviewed clients of Gulu, and their stories, many deeply<br />
moving, describe the political, economic, and social conditions common to contemporary East Africa.<br />
Martina Bacigalupo was born in Genoa in 1978. After reading literature and philosophy in Italy, she studied photography<br />
in London. For the past five years Martina has been living and working in East Africa, mainly based in Burundi, working<br />
on personal projects and collaborating with international organisations and institutions. Her work has been published,<br />
among others, in the Sunday Times Magazine, Le Monde Magazine, Internazionale, Elle, Esquire and Jeune Afrique.<br />
She is a member of Agence Vu in Paris.<br />
Co-published with The Walther Collection<br />
Exhibition: The Walther Collection Project Space, New York, 12 September 2013 to 18 January 2014<br />
Martina Bacigalupo<br />
Gulu Real Art Studio<br />
With essays by Martina Bacigalupo, Sandrine Perrot and Christian<br />
Caujolle, and an interview with Denis Obal<br />
Book design by Buro Svenja and Gerhard Steidl<br />
112 pages<br />
7.9 x 9.5 in. / 20 x 24 cm<br />
80 photographs<br />
Four-colour process<br />
Clothbound hardcover with a tipped-in photo<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86930-696-4<br />
95
Tamar Garb (ed.)<br />
Distance and Desire: Encounters with the African Archive<br />
African Photography from The Walther Collection<br />
Distance and Desire – accompanying the same-titled exhibition in Neu-Ulm – is the first major publication to stage a<br />
dialogue between the ethnographic visions of late ni<strong>net</strong>eenth and early-twentieth century African photography and<br />
engagements with this imagery by contemporary artists. Presenting an extraordinary range of portraits, albums, postcards,<br />
cartes de visite, and books from Southern Africa, as well as recent photography and video art from The Walther<br />
Collection, the catalogue includes original thematic essays by leading art historians, anthropologists, and cultural critics.<br />
Distance and Desire offers new perspectives on the African archive, reimagining its diverse histories and changing<br />
meanings.<br />
Distance and Desire investigates typical representations of African subjects, from scenes in nature and romanticized<br />
images of semi-nude models, to modern sitters posing in stylized studios, critically addressing the politics of colonialism<br />
and the complex issues of gender and identity. Among many diverse topics, the catalogue examines in-depth a series<br />
of cartes de visite from the Diamond Fields in Kimberley, the figure of the Zulu, the history of South Africa’s prominent<br />
studio photographers, A.M. Duggan-Cronin’s extensive ethnographic study The Bantu Tribes of South Africa, and the<br />
archive of elegant family portraits reproduced by the contemporary artist Santu Mofokeng in The Black Photo Album /<br />
Look at Me: 1890-1950. The catalogue also reveals how the heritage of African imagery figures in the practices of<br />
contemporary African and African American artists, whose compelling photography and video art reworks the archive<br />
through satire or appropriation.<br />
Co-published with The Walther Collection<br />
Exhibition: The Walther Collection, Neu-Ulm,<br />
9 June 2013 to 17 May 2015<br />
Tamar Garb (ed.)<br />
Distance and Desire: Encounters with the African Archive<br />
African Photography from The Walther Collection<br />
Contains an interview with Artur Walther<br />
Contributions by Awam Amkpa, Jennifer Bajorek, Elizabeth<br />
Edwards, Cheryl Finley, Christraud Geary, Michael Godby, Erin<br />
Haney, Hlonipha Mokoena, Gabi Ncobo, Chika Okeke-Agulu,<br />
Carla Williams, and Deborah Willis<br />
Book design by Buro Svenja and Gerhard Steidl<br />
352 pages<br />
9.45 x 12.6 in. / 24,0 x 32,0 cm<br />
215 photographs<br />
Four-colour process<br />
Clothbound hardcover with a dust jacket<br />
€ 68.00 / £ 58.00 / US$ 89.00<br />
ISBN 978-3-86930-651-3<br />
97
Artur Walther (ed.)<br />
African Photography from The Walther Collection<br />
The Walther Collection is one of the most prominent international collections of African photography. This three-volume<br />
work represents the culmination of the collection’s multi-year exhibition and publishing program, investigating African<br />
photography and video through the themes of portraiture, landscape, and the historic archive.<br />
Housed in a handsome slipcase, the individual volumes have been edited by Okwui Enwezor, Corinne Diserens, and<br />
Tamar Garb.<br />
Co-published with The Walther Collection<br />
Vol. I Vol. II Vol. III<br />
Slipcase<br />
Artur Walther (ed.)<br />
African Photography from The Walther Collection<br />
Vol. I: Events of the Self: Portraiture and Social Identity, 448 pages<br />
Vol. II: Appropriated Landscapes, 408 pages<br />
Vol. III: Distance and Desire: Encounters with the African Archive, 352 pages<br />
Three clothbound hardcover books with dust jackets<br />
Housed in a handmade slipcase<br />
€ 198.00 / £165.00 / US$ 250.00<br />
ISBN 978-3-86930-655-1<br />
99
100
Fazal Sheikh<br />
Ether<br />
The pictures in Ether, Sheikh’s first book in colour, were made as a way to honour the experience of death and to try to<br />
comprehend its significance. Benares (Varanasi) is one of India’s sacred cities, where many Hindus come to die in the<br />
belief that they will find salvation. As he walked its streets by night, Sheikh observed sleeping figures, shrouded in blankets,<br />
lost to an oblivion that seemed, in that holy city, to offer a simulacrum of death. In watching these ambiguous<br />
figures, which hover in the imagination between a dream state, sleep and death, Sheikh recalled his own experience with<br />
his dying father and their passage together through his father’s final days. He remembered it as an invaluable period of<br />
emotional connection with the body and soul of the person he knew and loved, a connection that reached back to his<br />
paternal ancestors, who had travelled south from northern India a century before.<br />
To lose oneself in sleep is to abandon the senses and leave the way open to a dream state in which mind and body<br />
separate. Just as, in death, the soul leaves the physical body behind and takes to the air, becoming ether.<br />
Fazal Sheikh was born in 1965 in New York City. His previous publications include: A Sense of Common Ground<br />
(Scalo 1996), The Victor Weeps (Scalo 1998), A Camel for the Son and Ramadan Moon (International Human Rights<br />
Series 2001), Moksha (Steidl 2005), Ladli (Steidl 2007), The Circle (Steidl 2008), and Portraits (Steidl 2011). His work<br />
has been exhibited internationally in galleries and museums, including Tate Modern (London), the Henri Cartier-<br />
Bresson Foundation (Paris), the Metropolitan Museum of Art, ICP and the UN (New York), and the Museum of<br />
Contemporary Art (Moscow). In 2005 Sheikh was named a MacArthur Fellow.<br />
The project has been kindly supported by the George Foundation, Switzerland<br />
Fazal Sheikh<br />
Ether<br />
Book design by Fazal Sheikh,<br />
Gerhard Steidl, Bernard Fischer<br />
88 pages<br />
8.3 x 12.6 in / 21 x 32 cm<br />
64 photographs<br />
Four-colour process<br />
Clothbound hardcover<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86930-653-7<br />
101
102
Jim Goldberg<br />
Rich and Poor<br />
“Having thirty years to look back at these images, I felt like I was able to look a this work with a<br />
critical distance for the first time. I’m now able to separate my own impulses with the overarching<br />
history/context of what was happening in the 70’s and 80’s.”<br />
Jim Goldberg<br />
From 1977 to 1985, Goldberg photographed the wealthy and destitute of San Francisco, creating a visual document<br />
that has since become a landmark work. Through the combination of text and photographs, Rich and Poor’s mass<br />
appeal was instantly recognizable. In 1984 the series was exhibited alongside Robert Adams and Joel Sternfeld in the<br />
“Three Americans” exhibition at MoMA, and was published the following year by Random House.<br />
Out of print since 1985, Jim Goldberg’s Rich and Poor has been completely re-designed and expanded by the artist<br />
for Steidl. Available for the first time in hardcover, Rich and Poor builds upon the classic combination of photographs<br />
and handwriting and adds a surplus of vintage material and contemporary photographs that have never been published<br />
or exhibited. The photographs in Rich and Poor constitute a shocking and gripping portrait of America during the 70’s<br />
and 80’s that remains just as relevant today.<br />
Jim Goldberg was born in New Haven, Connecticut, in 1953. He has been working with experimental storytelling for<br />
over thirty years with major projects including Rich and Poor (1977-85), Raised by Wolves (1985-95), and Open See<br />
(2003-present). He joined Magnum Photos in 2002. He has been awarded three NEA grants, a Guggenheim Fellowship,<br />
the Henri Cartier-Bresson Award (2007), and the Deutsche Börse Photography Prize (2011).<br />
Front cover Back cover<br />
NEW EXPANDED EDITION<br />
Jim Goldberg<br />
Rich and Poor<br />
New expanded edition with an extra<br />
insert book of 67 pages and 4 photographs<br />
Book design by Jim Goldberg<br />
256 pages<br />
11 x 8.5 in / 27,4 x 21,6 cm<br />
158 photographs<br />
Four-colour process<br />
Hardcover<br />
€ 45.00 / £ 36.00 / US$ 58.00<br />
ISBN 978-3-86930-688-9<br />
103
104
Philip Brookman<br />
Redlands<br />
“I asked what he thought of California. He said the beauty didn’t fool him. So I told him to visit<br />
Redlands and spend some time with the fruit pickers, and then stop by the rail yards after sunset<br />
to blow the seeds off dandelions and watch them float away in the wind. He wrote that down in<br />
his notebook.”<br />
Redlands weaves together an intimate sequence of photographs and a short story by Philip Brookman, set in California,<br />
Mexico, and New York City during the unsettled decades of the 1960s and 1970s. Brookman uses fiction and images<br />
from his own photographic diaries to create a first-person account of Kip, an artist who wanders back and forth between<br />
farmworkers and poets – between California and New York – seeking to question the meaning of his mother’s death.<br />
When Kip learns that he can’t trust the eyewitness accounts of his sister, he picks up a camera to find meaning in his<br />
own experience. By juxtaposing the oppositional strategies of fiction and documentary practice to find an invented narrative,<br />
Redlands questions the veracity of logical observation and embraces the poetry of the real world.<br />
Philip Brookman is a curator, photographer, filmmaker, and writer. He is Chief Curator and Head of Research at the<br />
Corcoran Gallery of Art, Washington, D.C. Brookman’s books, essays, and documentaries are about issues of modern<br />
photography, media, culture, family, and visual arts. Brookman has organized major exhibitions with photographers<br />
Robert Frank, Jim Goldberg, Sally Mann, and Gordon Parks, among others. He is the author of Helios: Eadweard<br />
Muybridge in a Time of Change.<br />
Philip Brookman<br />
Redlands<br />
Text by Philip Brookman<br />
Book design by Philip Brookman<br />
240 pages<br />
6 x 9 in. / 15,2 x 22,9 cm<br />
92 photographs<br />
Four-colour process<br />
Hardcover<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86930-686-5<br />
105
Juergen Teller<br />
Woo!<br />
The idea for this publication came about as an extension of the exhibition Juergen Teller: Woo! held at the Institute of<br />
Contemporary Arts in London in 2013. In the run-up to his show, Teller was invited to curate a selection of photographs<br />
in the ICA Fox Reading Room, a confined space located away from the main galleries. His initial plan was to cover an<br />
area of wall with “tear sheets” – proof pages relating to his commercial photography. As the project developed, Teller<br />
would eventually plaster the entire space with images spanning a twenty-year period, including family portraits, magazine<br />
assignments, recent ad campaigns, landscapes and various personal projects. The combined effect of seeing his<br />
images juxtaposed like this, so they formed hitherto unforeseen relationships across time, would so inspire Teller that,<br />
during the course of his show, he would passionately launch himself into the production of this book. Setting itself apart<br />
from more conventional exhibition catalogues, this publication brilliantly relays the raw impact of the original installation,<br />
unlocking a new and exciting dialogue across an impressive body of work.<br />
Juergen Teller, born in Erlangen, Germany, in 1964, studied at the Bayerische Staatslehranstalt für Photographie in<br />
Munich. His work has been published in influential publications such as W Magazine, iD and Purple and has been the<br />
subject of solo exhibitions including The Photographers’ Gallery, London, the Kunsthalle Wien and the Fondation Cartier<br />
pour l’art contemporain in Paris. He won the prestigious Citibank Price in 2003. Teller has produced numerous monographs<br />
with Steidl including Marc Jacobs Advertising 1998-2009, Pictures and Text, Keys to the House and Master III.<br />
Juergen Teller<br />
Woo!<br />
Book design by Juergen Teller and Peter Miles<br />
336 pages<br />
9.8 x 13 in. / 25 x 33 cm<br />
396 photographs<br />
Four-colour process<br />
Flexible hardcover with a dust jacket<br />
€ 40.00 / £ 30.00 / US$ 50.00<br />
ISBN 978-3-86930-652-0<br />
107
108
Håkan Ludwigson<br />
Balls and Bulldust<br />
“They come here for the cowboy romance, but after months in the heat and dust they give up.<br />
Some might stay for a couple of seasons.”<br />
A Northern Territory station manager<br />
Balls and Bulldust is a rich collection of images that explores life and work among the cattlemen in the Northern Territory<br />
in Australia. It is not another cowboy story, rather one about men and women working very hard, and seeking some kind<br />
of solitude and sense of space in the midst of harsh conditions. For some, life in Australia’s outback is a life-long routine.<br />
The young are attracted by its romanticism, which is – more often than not – shattered by reality’s hardships. The<br />
red dust covering this vast scrubby landscape and filling the air is prevalent in Ludwigson’s images. Days can be blistering<br />
hot and temperatures at nights may sometimes fall below zero. People sleep on “swags” on the ground for weeks.<br />
The food is drab and the men are in their saddles twelve hours a day mustering herds of cattle, branding and castrating<br />
young bulls.<br />
Håkan Ludwigson, who is one of the world’s leading commercial photographers, spent three months with the cattlemen<br />
of the Australian outback early in his career, and returned to his native Sweden with a body of work that became<br />
Balls and Bulldust in 2012. The work was first exhibited at Strandverket Konsthall on Marstrand in Sweden in 2012.<br />
The exhibition was curated by Hasse Persson.<br />
Håkan Ludwigson was born on the Swedish west coast in the small town of Vänersborg where he started his career<br />
as a press photographer at the local newspaper in 1965. He later made a name for himself through magazine work for<br />
European publications and advertising assignments for leading car companies, mixed with personal projects. In 1988<br />
Ludwigson became a contract photographer for Condé Nast Traveler in New York. Today he is seen as one of the most<br />
versatile photographic artists at the magazine with a personal vision that has earned him followers all over the world.<br />
Exhibition: Mullsjö International Photo Festival, 6 to 9 June 2013<br />
Håkan Ludwigson<br />
Balls and Bulldust<br />
Texts by Håkan Ludwigson and Hasse Persson<br />
Book design by Andrew Cowie / C52 graphic design ab<br />
288 pages<br />
11.8 x 11.8 in. / 29,5 x 29,5 cm<br />
180 photographs<br />
Four-colour process<br />
Clothbound hardcover<br />
€ 65.00 / £ 50.00 / US$ 80.00<br />
ISBN 978-3-86930-707-7<br />
109
110
Harf Zimmermann<br />
BRAND WAND<br />
“Though these pictures appear like magnificent modern paintings, they are in fact a deeper<br />
unconscious social artistic expression of an urban re-development that historical events since the<br />
Gründerzeit have fermented and brought to the surface.”<br />
Robert Polidori<br />
The soaring, rigid walls of the tenement blocks torn open by the bombing of World War II dominated the German<br />
streetscapes of the 1950s. Fire walls, originally integrated in the building and serving as fire shields, suddenly became<br />
visible and turned into outer walls. That is how the originally rather technical term got a new meaning: Firewalls as walls<br />
spared by the fire.<br />
Those long brick walls often adjoin to vast vacant lots once taken up by buildings that were never reerected after the<br />
war. Windows—sometimes bricked up again—cover the walls without any rational order, bearing witness to the troublesome<br />
moments of Germany’s history, just like smut, traces of bullets, shrapnel holes, the outlines of previous buildings,<br />
and provisional repairs. The remarkable housing boom following the fall of East Germany whitewashed most of the<br />
scars and overgrew the occasional graffiti and advertisements originally decorating those walls. A look behind them<br />
reveals—like a negative form of the same cast—the imprint of the building’s story.<br />
Harf Zimmermann was born in Dresden, Germany, in 1955 and grew up in East Berlin. He studied journalism and later<br />
photography with Arno Fischer at the HGB in Leipzig. In 1990, he co-founded the photo-agency Ostkreuz in Berlin.<br />
Zimmermann works for international magazines and industry and is based in Berlin.<br />
Harf Zimmermann<br />
BRAND WAND<br />
Texts by Robert Polidori and Harf Zimmermann<br />
Book design by Harf Zimmermann and Sabine Hahn / Steidl Design<br />
128 pages<br />
14.8 x 11.7 in. / 37,5 x 29,6 cm<br />
74 photographs<br />
Four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 78.00 / £ 65.00 / US$ 98.00<br />
ISBN 978-3-86930-628-5<br />
111
112
Michael von Graffenried<br />
Bierfest<br />
“I sometimes felt as if in a civil war!”<br />
Michael von Graffenried<br />
All year long, the people of Munich look forward to the Oktoberfest. When the time has come, the city’s inhabitants,<br />
joined by tourists from all over the world, put on their Lederhosen and Dirndl dresses and gather on the Wiesn. With<br />
seven million litres of beer flowing at record speed, social boundaries are soon overstepped. The grass by the tents is<br />
used as urinals and becomes strewn with intoxicated corpses, while the police and medical teams try to keep up with<br />
sinking inhibition thresholds. Michael von Graffenried shines a light on the decadent side of what is probably the most<br />
famous folk festival in the world. His images make no difference between the celebrated folklore in the tents and the<br />
mass delirium.<br />
Michael von Graffenried was born in Bern in 1957 and lives in Paris. He started out as a photojournalist and today works<br />
on long-time projects using different media. His photographs were exhibited in France, Switzerland, New York, Algier,<br />
Hong Kong and Beirut and are part of various international collections. He was the third Swiss artist, after Robert Frank<br />
and René Burri, to receive the Dr. Erich Salomon Award of the German Society for Photography (DGPh) in 2010.<br />
Bierfest<br />
Michael von Graffenried<br />
Michael von Graffenried<br />
Bierfest<br />
Book design by Michael von Graffenried<br />
and Gerhard Steidl<br />
120 pages<br />
12.5 x 9.5 in. / 29,5 x 24,5 cm<br />
50 double-page panorama photographs<br />
Four-colour process<br />
Hardcover<br />
€ 40.00 / £ 30.00 / US$ 50.00<br />
ISBN 978-3-86930-680-3<br />
113
114
Koto Bolofo and Claudia Van Ryssen-Bolofo<br />
The Prison<br />
Having left South Africa at the age of four as a political refugee with his parents, photographer Koto Bolofo returned to<br />
his home country with his wife in 1992, two years after Nelson Mandela had been released from prison. Bolofo got free<br />
access to the notorious and by now deserted prison of Robben Island, where Mandela had been held for the majority<br />
of the twenty-seven years of his confinement in a cell of barely 6 square metres in Section B. The photographer and<br />
his wife eagerly began documenting the site’s abandoned interiors and surroundings, dreading the prison’s potential<br />
closure. Meanwhile, it was converted into a well-frequented museum in 1997 and included on the World Heritage List<br />
by UNESCO in 1999.<br />
The black and white photographs of this volume conspicuously favour close-up depictions of details as opposed to<br />
general views: leftover items, barbed wire fences, spacious dormitories viewed through a spyhole, the key in the lock<br />
to Mandela’s cell which is so tiny it cannot be taken as a whole—all this is conveying the gloomy sense of claustrophobia<br />
and suppression that characterise the place. The camera is constantly searching for the few rays of light that pe<strong>net</strong>rate<br />
the ubiquitous grimness and silence of cruelty.<br />
Koto Bolofo was born in South Africa in 1959 and raised in Great Britain. Bolofo has photographed for magazines<br />
such as Vogue, Vanity Fair and GQ and made short films for the Berlinale and the Venice Film Festival. He has created<br />
advertising campaigns for companies including Hermès, Louis Vuitton and Dom Pérignon. Bolofo lives in the Vendée,<br />
France, and his books with Steidl include Lord Snowdon, Dreams, Horse Power, Venus Williams, I Spy with my Little<br />
Eye, Something beginning with S, Vroom! Vroom!, La Maison and Grande Complication.<br />
Koto Bolofo and Claudia Van Ryssen-Bolofo<br />
The Prison<br />
Text by Kristine Miller Guest and Koto Bolofo<br />
Book design by Koto Bolofo and Rukminee Guha Thakurta<br />
288 pages<br />
11.4 x 14.5 in. / 29 x 37 cm<br />
105 photographs<br />
Tritone<br />
Hardcover<br />
€ 65.00 / £ 49.00 / US$ 78.00<br />
ISBN 978-3-86930-600-1<br />
115
116
Koto Bolofo<br />
Rolls-Royce<br />
Rolls-Royce, a world renowned iconic brand and symbol of all that is British, Koto Bolofo goes behind the scenes and<br />
examines in minute detail the making of the car that is the first choice of film stars and heads of state. Given carte<br />
blanche by Rolls-Royce, Koto photo documents the painstaking craftsmanship that goes into the creation of these superlative<br />
vehicles. Beautifully portraying the use of technology in this state of the art manufacturing plant which still<br />
puts a heavy emphasis on artisan crafts. This visual diary pays tribute to Rolls-Royce and stays true to the words of<br />
Sir Henry Royce “Strive for perfection in everything you do.” Koto’s keen eye for detail and ability to see beyond the obvious,<br />
creatively captures the construction of these magnificent cars in a way that can only be described as perfection.<br />
Koto Bolofo was born in South Africa in 1959 and raised in Great Britain. Bolofo has photographed for magazines<br />
such as Vogue, Vanity Fair and GQ and made short films for the Berlinale and the Venice Film Festival. He has created<br />
advertising campaigns for companies including Hermès, Christian Dior, Louis Vuitton and Dom Pérignon. Bolofo lives<br />
in the Vendée, France, and his books with Steidl include Lord Snowdon, Dreams, Horse Power, Venus Williams, I Spy<br />
with my Little Eye, Something beginning with S, Vroom! Vroom!, La Maison and Grande Complication.<br />
Koto Bolofo<br />
Rolls-Royce<br />
Book design by Koto Bolofo and Steidl Design<br />
208 pages<br />
11.4 x 14.6 in. / 29 x 37 cm<br />
181 photographs<br />
Four-colour process<br />
Clothbound hardcover with a dust jacket<br />
€ 78.00 / £ 65.00 / US$ 88.00<br />
ISBN 978-3-86930-645-2<br />
117
Simon Starling Roni Horn<br />
Ai Weiwei John Baldessari<br />
Bruce Nauman Jeff Wall<br />
118
Jason Schmidt<br />
Artists II<br />
Artists II is the second volume of Jason Schmidt’s ongoing photographic documentation of today’s most significant<br />
artists. From young to old, emerging to career peaking, world famous or as-of-yet-known, the creative forces that the<br />
New York-based photographer has managed to capture over a period of 12 years has come to serve as perhaps the<br />
most incisive look into the art world as it stands today. Artists II captures 166 artists, including John Baldessari,<br />
Ai Weiwei, Glenn Ligon and Cindy Sherman, in their studios or work environments and the resultant images reveal the<br />
context in which the art was made or conceived and the artists in their most intimate moment—in the process of creation.<br />
A text by each artist in their own words accompanies each photograph: some are literal descriptions of the encounter,<br />
others are poetic or enigmatic; each is a window into their artistic methods and perspectives. The strength of this artists<br />
series lies not solely in its individual compositions but in its value as a comprehensive archive of contemporary artistic<br />
practice. Situated between portraiture and landscape, Schmidt’s photographs show art and artist in a constant moment<br />
of transformation.<br />
Jason Schmidt was born in 1969 in New York, and graduated from Columbia University in 1991 with a degree in art<br />
history. His photographs have been exhibited at the Museum of Contemporary Art (Los Angeles), The Martin Z. Marguiles<br />
Collection (Miami), Deitch Projects (New York), and elsewhere. Schmidt’s photographs have appeared in The New<br />
York Times Magazine, Vanity Fair, Harper’s Bazaar, The New Yorker, and V Magazine, among others. Schmidt lives and<br />
works in New York City. Edition 7L published Schmidt’s Artists in 2007.<br />
Jason Schmidt<br />
Artists II<br />
Edited by Alix Browne and Christopher Bollen<br />
Texts by Jason Schmidt and various artists<br />
Book design by Greg Foley, Pierre Consorti, Zachary Ohlman<br />
180 pages<br />
11.7 x 11.8 in. / 29,7 x 30 cm<br />
166 photographs<br />
Four-colour process<br />
Clothbound hardcover<br />
€ 58.00 / £ 48.00 / US$ 70.00<br />
ISBN 978-3-86930-632-2<br />
119
120
Jim Dine<br />
A Printmaker’s document<br />
“Inspired by a semi-autobiographical book by the mid-20th century German printmaker HAP Grieshaber, I have used his<br />
idea to create a story of fifty years as a printmaker. The book includes interviews with my printers and memories of my<br />
life around the prints I made at that time. I have made over a thousand prints so far and I am not done yet. There are<br />
“key” images illustrated, and the text attempts to marry the technical with my emotional feeling for the mediums, etching,<br />
lithography, woodcut and silkscreen. I have included recipes for variations on intaglio and some stories of my friendships<br />
with these gifted artisans who have produced this work.” Jim Dine<br />
Born in 1935 in Cincinnati, Ohio, Jim Dine completed a Bachelor of Fine Arts at Ohio University in 1957 and has since<br />
become one of the most profound and prolific contemporary artists. Dine’s unparalleled career spans fifty years, and<br />
his work is held in numerous private and public collections. His books at Steidl include Birds (2001), The Photographs,<br />
so far (2003) and Hot Dream (52 Books) (2008).<br />
Jim Dine<br />
A Printmaker’s document<br />
Texts by Jim Dine<br />
Book design by Jim Dine and Sabine Hahn / Steidl Design<br />
280 pages<br />
7 x 10.8 in. / 18 x 27,5 cm<br />
168 photographs<br />
Four-colour process<br />
Clothbound hardcover with black foil<br />
embossing on front and back<br />
€ 30.00 / £ 25.00 / US$ 38.00<br />
ISBN 978-3-86930-644-5<br />
121
Gabriele Basilico<br />
Fouad Elkoury<br />
Robert Polidori<br />
Klavdij Sluban<br />
122
Nouhad Makdissi (ed.)<br />
Beirut Mission. Photos 2009-2011<br />
In 1991, Gabriele Basilico and Fouad Elkoury were part of a group of six international photographers on a mission to<br />
Beirut city centre at the end of the Lebanon war. Beirut was put on the international photography map thanks to these<br />
pictures. In 2008, Fouad Elkoury proposed a new mission.<br />
With Beirut going through a unique period of change, it was essential to document the urban development by producing<br />
a photographic archive of quality, revealing the mission of Beirut itself as “one of the world’s most complex, legendary,<br />
ever-vibrant, ever-troubled cities.” Four photographers were selected to compile Beirut Mission, according to complementarities<br />
in their approach and experience. Fouad Elkoury and Klavdij Sluban were invited in 2009 and again in 2010;<br />
Robert Polidori came in 2010, and Gabriele Basilico in 2011.<br />
Gabriele Basilico, born in Milan in 1944, began working as a photographer in 1973 focussing on city and urban landscapes<br />
and went to Beirut for the first time right after the war in 1991 to take part in a photographic mission. His works<br />
were exhibited around the world, as e.g. at Venice Biennale in 1996, 2007 and 2012, at the Stedelijk Museum in 2000<br />
and at the San Francisco MoMa in 2008. He died in early 2013.<br />
Fouad Elkoury was born in Paris in 1952. He began his artistic career photographing Beirut during the civil war. In<br />
1997 Elkoury co-founded the Arab Image Foundation in Beirut, which archives and promotes photography from the surrounding<br />
region. He has exhibited extensively, e.g. at the MEP in Paris and the Venice Biennale.<br />
Robert Polidori was born in Montreal in 1951 and lives in New York City. His work has been the subject of exhibitions<br />
in New York, London, Brazil, Montreal, among other places. In 2006, Polidori’s series of photographs of New Orleans<br />
after Hurricane Katrina was exhibited at the Metropolitan Museum of Art. He published several books with Steidl.<br />
Klavdij Sluban was born in Paris in 1963. He has worked as a photographer since 1992 and focussed on projects about<br />
teenagers and young prisoners in different parts of the world. Sluban has held exhibitions at the Centre Pompidou and<br />
the Institut du Monde Arabe in Paris.<br />
Vol. I<br />
Vol. II<br />
Vol. III<br />
Vol. IV Vol. V<br />
Slipcase<br />
Co-published with Solidere, Beirut<br />
Nouhad Makdissi (ed.)<br />
Beirut Mission. Photos 2009-2011<br />
Texts by Nouhad Makdissi<br />
Book design by Gerhard Steidl and Sabine Hahn<br />
Vol. I: Gabriele Basilico, 64 pages<br />
Vol. II: Fouad Elkoury, 64 pages<br />
Vol. III: Robert Polidori, 64 pages<br />
Vol. IV: Klavdij Sluban, 64 pages<br />
Vol. V: Texts and illustrations, 24 pages<br />
8.1 x 9.8 in. / 20,6 x 25 cm<br />
208 photographs<br />
Tritone and four-colour process<br />
Five softcover books housed in a slipcase<br />
€ 45.00 / £ 36.00 / US$ 55.00<br />
ISBN 978-3-86930-699-5<br />
123
Philippe Séclier<br />
Un voyage américain. Sur les traces de Robert Frank<br />
An american journey. In Robert Frank’s footsteps<br />
In contemporary photography, everybody agrees there is a “before” and an “after” The Americans, Robert Frank’s 1958<br />
photographic manifesto. Half a century later, French director Philippe Séclier decided to follow in Robert Frank’s footsteps<br />
to explore the spirit of the “Beat Generation” and the impact of his book, The Americans, not only on the art of<br />
photography, but also on American culture.<br />
From Texas to Montana, from Nebraska to Louisiana, from New York to San Francisco, an american journey. In Robert<br />
Frank’s footsteps is a 15,000 miles odyssey through contemporary America, moving between past and present, photography<br />
and cinema, and two Americas, separated by time.<br />
Philippe Séclier is a journalist. He has edited two photographic books, Hôtel Puerto and La Longue Route de Sable<br />
on a text by Pier Paolo Pasolini, which won the Thomas Cook prize. From 1999 to 2002, he worked on the Chilean photo<br />
grapher Sergio Larrain for an upcoming book and exhibition. In 2004, using archival images, he made a 52-minute<br />
documentary about Marc Riboud, called Instants d’année (2004). That film was acquired by the Maison Européenne<br />
de la Photographie (MEP). In 2006 he collaborated with Magnum on Magnum, 60 ans, a book celebrating their 60th<br />
anniversary. Since spring 2007, Philippe has been working with photographer and filmmaker Raymond Depardon on<br />
various projects.<br />
Philippe Séclier<br />
un voyage américain. Sur les traces de Robert Frank<br />
an american journey. In Robert Frank’s footsteps<br />
Includes:<br />
- a double dvd film (58’) + bonus (40’) in English, German and French<br />
interview with the director (12’)<br />
- 4 interviews (Alec Soth, Alain Bergala, Brice Mattieussent,<br />
Pierre Fresnault) (28’)<br />
- the director’s travel booklet and travel photos<br />
€ 15.00 / £ 12.00 / US$ 20.00<br />
ISBN 978-3-86930-659-9<br />
125
126
David Campany (ed.)<br />
Walker Evans: the magazine work<br />
Walker Evans was one of the most important and influential artists of the twentieth century, who produced a body of<br />
photographs that continue to shape our understanding of the modern era. He worked in every genre and format, in<br />
black and white and in colour, but two passions were constant: literature and the printed page.<br />
While his photographic books are among the most influential in the medium’s history, Evans’s more ephemeral pages<br />
remain largely unknown. From small avant-garde publications to mainstream titles such as Harper’s Bazaar, Vogue,<br />
Architectural Forum, Life and Fortune he produced innovative and independent journalism, often setting his own<br />
assignments, editing, writing and designing his pages. Presenting many of his photo-essays in their entirety, Walker<br />
Evans: The Magazine Work assembles the unwritten history of this work, allowing us to see how he protected his<br />
autonomy, earned a living and found audiences far beyond the museum and gallery.<br />
Walker Evans began photographing in the late 1920s. He moved quickly to define his aesthetic and his subject matter:<br />
straight and sober photographs of American everyday life and its environs. Within a decade he had produced some<br />
of the most significant photographs of the twentieth century, exhibited at the Museum of Modern Art, New York, and<br />
published two landmark books (American Photographs in 1938 and Let us Now Praise Famous Men with James<br />
Agee, in 1941). He wrote art and film reviews for Time (1943–45), was employed by Fortune between 1945 and 1965<br />
and taught at Yale thereafter.<br />
David Campany is a writer, curator and Reader in Photography at the University of Westminster, London. His books<br />
include Art and Photography (Phaidon, 2003), Photography and Cinema (Reaktion, 2008), ANONYMES: L’Amérique<br />
sans nom: photographies et cinéma (Steidl/Le Bal, 2010) and Jeff Wall: Picture for Women (Afterall, MIT 2011). His<br />
essays have appeared in numerous books. He writes for Aperture, Frieze, Photoworks, Source, The Oxford Art Journal,<br />
and PA magazine.<br />
David Campany (ed.)<br />
Walker Evans: the magazine work<br />
Edited and with an essay by David Campany<br />
Book design by David Campany and<br />
Sabine Hahn / Steidl Design<br />
256 pages<br />
9.6 x 12.6 in. / 24,5 x 32 cm<br />
Four-colour process<br />
Hardcover with dust jacket<br />
€ 48.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86930-259-1<br />
127
EDITIONS
130
Nicolas Pages and Benoît Peverelli (eds.)<br />
Balthus – The Last Studies<br />
“For every painting involving a model, I organise a photo session preceding the work. As I don’t see<br />
well enough anymore in order to draw I help myself with polaroid ‘sketches.’ Thus, everything begins<br />
with a struggle with the camera as I obviously don’t master its technique … Then we try out<br />
different poses.”<br />
Balthus<br />
Balthus – The Last Studies is an undisclosed corpus of nearly two thousand photographs produced during the last ten<br />
years of the painter’s life. They are the preliminary studies for his last three major paintings. His hands incapacitated by<br />
old age, Balthus resorted to the camera as a sort of prosthesis, at once eye, hand and pencil, thus reassuming the<br />
mysterious ritual of sketching, for him the one and only way to approach and define the mental image from which the<br />
painting’s composition would proceed. As a substitute for drawing, these never before seen photographs fully participate<br />
in the slow, painstaking practice which had been Balthus’s for nearly a century. As such, they give a major insight<br />
into the painter’s endless quest of beauty.<br />
Balthus was born in Paris in 1908 as Balthazar Kłossowski de Rola. The godson of Reiner Maria Rilke – who also gave<br />
him his artist’s name –, he was patronised by the same from his early age. Although an outsider to the different trends<br />
and currents of his contemporaries, he quickly established himself as a major artist. From 1961 to 1976 he was the<br />
director of the Villa Medici in Rome. Balthus died on 18 February 2001 at The Grand Chalet in Rossinière, Switzerland.<br />
Vol. 1<br />
Vol. 2<br />
BALTHUS<br />
THE LAST STUDIES<br />
I<br />
STEIDL<br />
BALTHUS<br />
THE LAST STUDIES<br />
II<br />
STEIDL<br />
Box<br />
Nicolas Pages and Benoît Peverelli (eds.)<br />
Balthus – The Last Studies<br />
With texts by Balthus, Setsuko<br />
Kłossowski de Rola, and Anna<br />
Whali<br />
Book design by Nicolas Pages,<br />
Benoît Peverelli, and Gerhard Steidl<br />
Vol. 1: 1256 polaroid photos,<br />
224 pages<br />
Vol. 2: 99 polaroid photos,<br />
224 pages<br />
18 x 14 in. / 45,7 x 35,5 cm<br />
Five-colour process<br />
BALTHUS<br />
Two clothbound hardcover books<br />
housed in a handmade, clothbound box<br />
Limited edition of 1,000 sets<br />
€ 480.00 / £ 400.00 / US$ 610.00<br />
ISBN 978-3-86930-685-8<br />
131
134
Roni Horn<br />
Haraldsdóttir, Part Two<br />
Limited edition<br />
This is a special edition of 100 books of the tenth volume of Roni Horn’s “To Place” series. Each book is presented in<br />
a blue clothbound embossed slipcase and comes with a signed and numbered original colour c-print.<br />
Roni Horn’s series is about the connections between identity and location. This volume is related to Haraldsdóttir, which<br />
was published in 1996. Using water as a context, the photographs of a woman create an intimate but ambiguous portrait<br />
where the face becomes the place. Haraldsdóttir, Part Two contains one hundred photographs of the same subject taken<br />
fifteen years after the publication of Haraldsdóttir.<br />
Roni Horn was born in New York in 1955 where she continues to live and work. Horn’s solo exhibition includes those<br />
at the Whitney Museum of American Art in New York, Museum Winterthur and Tate Modern in London. Books are an<br />
important medium for Horn, both as a means of distributing her art and as exhibited objects. Her publications with Steidl<br />
include Becoming a Landscape (2001), This is Me, This is You (2001) and Roni Horn aka Roni Horn (2009).<br />
Book Slipcase<br />
Roni Horn<br />
Haraldsdóttir, Part Two<br />
Limited edition<br />
Book design by Roni Horn<br />
144 pages<br />
8.2 x 10.2 in. / 20,8 x 26 cm<br />
100 photographs<br />
Tritone and four-colour process<br />
Limited edition of 100 books<br />
Clothbound hardcover with foil<br />
embossing, housed in a handmade<br />
slipcase together with a colour<br />
c-print (see left page)<br />
Print size: 7.9 x 9.8 in / 20 x 25 cm<br />
Packed in a mylar folder<br />
Handsigned and numbered<br />
by Roni Horn<br />
€ 350.00 / £ 290.00 / US$ 420.00<br />
ISBN 978- 978-3-86930-429-8<br />
135
136
Lewis Baltz<br />
Venezia Marghera<br />
“The only remarkable thing about Marghera is her proximity to Venice. Otherwise Marghera is just<br />
another episode in the deindustrialization of Western Europe. Marghera sells aluminum, chemicals,<br />
petroleum and ships, and business has declined steadily since 1960. Venice sells herself,<br />
and her fragile, crepuscular beauty, and trade has been brisk for centuries.”<br />
Lewis Baltz<br />
Venezia Marghera is a limited edition set of screen-prints of new photographs by Lewis Baltz. Venice is Baltz’s home<br />
for half of the year and Marghera, her toxic industrial neighbour, has captured Baltz’s ironic imagination. Depicting<br />
sights including a new Disney cruise ship under construction, rusting freighters, factory architecture and a chemical<br />
plant, Venezia Marghera is the latest chapter in Baltz’s forty-year investigation of the man-altered landscape.<br />
Born in 1945 in Newport Beach, California, Lewis Baltz studied at the San Francisco Art Institute and Claremont<br />
Graduate School. Baltz came to prominence with the New Topographics movement of the 1970s, and his awards<br />
include a Guggenheim fellowship and the Charles Pratt Memorial Award. Baltz’s work is held in most major museum<br />
collections. His books with Steidl include 89–91, Sites of Technology (2007), WORKS (2010), The Prototype Works<br />
(2011) and Candlestick Point (2011).<br />
Lewis Baltz<br />
Venezia Marghera<br />
Text and photos by Lewis Baltz<br />
Design by Lewis Baltz and Gerhard Steidl<br />
Limited edition of 40, five artist’s proofs, and 1 printer’s proof<br />
16 photo-serigraphies and two text sheets on<br />
Hahnemühle photo-rag 360 g<br />
Presented in a handmade crate, signed and numbered<br />
by the artist<br />
15.7 x 23.6 in. / 40 x 60 cm<br />
Opaque white sealer, four-colour screen-printing<br />
€ 7,500.00 / £ 6,300.00 / US$ 9,600.00<br />
ISBN 978-3-86930-313-0<br />
137
138
Chuck Close<br />
Scribble Book: Self-Portrait<br />
Chuck Close immediately liked the idea of a book without words. As a child, his severe dyslexia stood in the way of<br />
reading, making images all the more important. To this day, he remembers a visual encyclopaedia from his early years<br />
and the feeling of being overtaken by the intensity of its pictures. The idea was also compatible with Close’s ongoing<br />
interest in revealing the process of his work, which he accomplishes largely through visual presentation, using very few<br />
words, if any.<br />
Scribble Book is a self-portrait that emerges step-by-step out of the printing process, one plate and one colour at a<br />
time. The viewer follows a series of 9 individual plate proofs along with a corresponding series of 9 progressive proofs.<br />
By comparing the plate proofs against the progressive proofs, the viewer may ascertain not only the effect as one colour<br />
is added to another to create the final 9-colour self-portrait, but also the compositional decisions and careful modifications<br />
made by Close at each stage of the project.<br />
A similar work was made with 12 plates and included in the exhibition Chuck Close Prints: Process and Collaboration<br />
at the Metropolitan Museum of Art in 2004. It was an immediate success. However, Close became fully aware of the<br />
effectiveness of the work only by means of an error: two of the prints were hung out of sequence, a circumstance that<br />
evaded the notice of both Close and the museum staff. It was not long before representatives of the museum received<br />
letters from two visitors who had noticed the error. “And just imagine,” Close relates, “if two people took the time to write<br />
letters, how many more must have figured it out and not bothered to write in!” Careful viewing was all that was needed,<br />
and the work inspired just that.<br />
Scribble Book is presented in this Steidl edition as two accordion-fold books. The first shows the series of plate proofs,<br />
and the second the series of progressive proofs, culminating with a 9-colour self-portrait. For those seeking a more detailed<br />
understanding of the printmaking process, these books are accompanied by a separate text booklet in which the<br />
artist gives a personal account of the drawing process as recorded through the soft-ground etching method.<br />
Chuck Close was born in Monroe, Washington, in 1940 and pursued his education in visual art at Yale University.<br />
Photography has been an integral part of his painting process since the mid-1960s and later grew into a body of work<br />
in its own right that includes large-format Polaroids and daguerreotypes. Close has also distinguished himself as a<br />
master in the area of printmaking. Since 1967 his work has been the subject of more than 100 major exhibitions throughout<br />
the world.<br />
Chuck Close<br />
Scribble Book: Self-Portrait<br />
Edited by Nina Holland and Jerry Sohn<br />
Text by Chuck Close<br />
Book design by Chuck Close, Nina Holland, and Gerhard Steidl<br />
Each book with a 9-page accordionfold, accompanied by an<br />
8-page saddle-stitched text booklet<br />
11 x 13.5 in. / 28 x 34,3 cm<br />
Printed in nine-colour process<br />
Two handbound hardcover books<br />
and a text booklet, housed in a slipcase<br />
€ 95.00 / £ 80.00 / US$ 148.00<br />
ISBN 978-3-86521-492-8<br />
139
140
Guido Mocafico<br />
Stilleven<br />
“The day someone looking at my pictures asked me why I had photographed paintings, I knew my<br />
goal – illusion – had been achieved.”<br />
Guido Mocafico<br />
Stilleven is Guido Mocafico’s interpretation of the great Dutch and German still-life paintings of the seventeenth and<br />
eighteenth centuries. By painstakingly reconstructing banquet and floral scenes as well as vanitas still-lifes by artists<br />
including Floris van Dijck and Pieter Claesz, Mocafico not only copies these paintings but brings them back to life.<br />
Using a large-format analogue camera with colour transparencies, Mocafico creates brilliant images with the highest<br />
degree of verisimilitude. Mocafico’s triumph, however, is not only recreating the appearance of things, but his restaging<br />
of the devout, mystical atmosphere of these paintings.<br />
Guido Mocafico was born in Switzerland in 1962, and today works in Switzerland and Paris. A specialist in still-life,<br />
Mocafico works regularly for fashion magazines. He has photographed advertising campaigns for many luxury brands.<br />
His books at Steidl include Venenum (2005), Medusa (2006), Serpens (2008) and Movement (2008).<br />
Book<br />
Guido Mocafico<br />
Stilleven<br />
Edited by Patrick Remy<br />
Essay by Jan Seewald<br />
Book design by Thomas Lenthal<br />
and Mathieu Perroud<br />
Limited edition of 300 sets, signed and<br />
numbered by the artist<br />
Slipcase<br />
56 pages<br />
11.4 x 14.6 in. / 29 x 37 cm<br />
25 photographs, tipped in by hand<br />
Four-colour process<br />
Clothbound hardcover in a<br />
handmade slipcase<br />
€ 280.00 / £ 230.00 / US$ 340.00<br />
ISBN 978-3-86930-326-0<br />
141
NEW RELEASES
144
SECOND EDITION<br />
Bruce Davidson<br />
Subway<br />
“Go back into the subway and look beyond the graffiti. Lift up your heads and look around, see what Bruce has revealed –<br />
the beauty in the subway population, the enormous amount of colour below and above ground, the varieties and pleasures<br />
to be seen from the subway. The shrill insistence of the noise in our ears and of the graffiti to our eyes does not<br />
end the catalogue of effects the subway has on our senses. Bruce Davidson has reopened and rewritten that catalogue<br />
with this magnificent series of photographs. Light, colour, humanity, affection, and hope can be added to our impressions<br />
of the New York subway system.” Henry Geldzahler<br />
In 1980 Bruce Davidson began photographing the New York subway system, venturing regularly into this intoxicating,<br />
sometimes dangerous subterranean world. At first Davidson photographed in black and white, but he soon realised<br />
colour was necessary to depict the intensity of this graffiti-covered landscape. Originally published in 1986, this updated<br />
Steidl edition of Subway is printed from new scans of Davidson’s Kodachrome slides and features additional<br />
images.<br />
Born in 1933, Bruce Davidson began photographing at the age of ten in Oak Park, Illinois. Davidson studied at the<br />
Rochester Institute of Technology and Yale University, before being drafted into the army. After leaving military service<br />
in 1957, Davidson freelanced for LIFE and in 1958 he became a member of Magnum. Davidson’s awards include a<br />
Guggenheim fellowship and the first National Endowment for the Arts in Photography. Steidl has published Davidson’s<br />
England / Scotland 1960 (2005), Circus (2007) and Outside Inside (2010).<br />
Bruce Davidson<br />
Subway<br />
Edited by Bruce Davidson and Amina Lakhaney<br />
Texts by Fred Braithwaite, Bruce Davidson and<br />
Henry Geldzahler<br />
Book design by Bruce Davidson and Gerhard Steidl<br />
140 pages<br />
11.6 x 11.4 in. / 29,5 x 29 cm<br />
117 photographs<br />
Four-colour process<br />
Hardcover with dust jacket<br />
€ 58.00 / £ 52.00 / distributed in the USA by Aperture<br />
ISBN 978-3-86930-294-2<br />
145
146<br />
Carla Bruni, singer songwriter
NEW EXPANDED EDITION<br />
Karl Lagerfeld/Carine Roitfeld<br />
The Little Black Jacket<br />
Chanel’s Classic Revisited<br />
More than 100,000 books sold!<br />
This is the new edition of Karl Lagerfeld and Carine Roitfeld’s reinterpretation of Chanel’s iconic little black jacket,<br />
expanded by 21 new photographs. For the first edition which was awarded as on of the most beautiful books made in<br />
Germany in 2012, Lagerfeld had redesigned the jacket, transforming it into a modern, adaptable garment to be worn by<br />
both sexes of all ages. The book contains Lagerfeld’s photographs of celebrities wearing the jacket with individual flair<br />
– sometimes classic, sometimes irreverent, but always Chanel – and each of the protagonists styled by Carine Roitfeld.<br />
A range of accomplished actors, musicians, designers, models, writers and directors gets the little black jacket treatment,<br />
including Claudia Schiffer, Uma Thurman, Kanye West, Tilda Swinton, Baptiste Giabiconi, Yoko Ono and Sarah Jessica<br />
Parker. The project – which is accompanied by a number of exhibitions around the world – underlines the astounding<br />
versatility of Chanel’s vision in Lagerfeld’s hands and ensures this specific jacket’s future as a timeless classic.<br />
Stiftung Buchkunst: Die schönsten deutschen Bücher / Best Designed Books from Germany 2012<br />
PHotoEspaña / Best Photography Book of the year 2013<br />
NEW EDITION<br />
EXPANDED WITH 21<br />
NEW CELEBRITIES<br />
PHOTOGRAPHED<br />
BY KARL LAGERFELD<br />
Karl Lagerfeld/Carine Roitfeld<br />
The Little Black Jacket<br />
Chanel’s Classic Revisited<br />
(New expanded edition)<br />
Book design by Karl Lagerfeld,<br />
Eric Pfrunder and Gerhard Steidl<br />
280 pages<br />
11.4 x 14.6 in. / 29 x 37 cm<br />
152 photographs<br />
Quadratone<br />
Otabind softcover housed in a slipcase<br />
€ 78.00 / £ 65.00 / US$ 98.00<br />
ISBN 978-3-86930-446-5<br />
147
148<br />
Ronnie Wood
SECOND EDITION<br />
Bryan Adams<br />
Exposed<br />
In the late ni<strong>net</strong>ies Bryan Adams became curious about making photographic self-portraits for his album covers, and<br />
so chose to pick up the camera himself. That serendipitous decision was the beginning of a successful photographic<br />
career, parallel to Adams’ impressive achievements as a singer, songwriter and producer. Exposed is a retrospective<br />
of Adams’ photography and features portraits of friends and colleagues in the entertainment, fashion and art industries,<br />
including Morrissey, Ben Kingsley, Amy Winehouse, Michael Jackson, Louise Bourgeois, Lindsay Lohan and Judi Dench.<br />
This book, Adams’ first comprehensive monograph, “exposes” not only unknown facets of his subjects but also the<br />
depth of Adams’ photographic faculty.<br />
Bryan Adams, born in 1959 in Ontario, divides his time between music and photography. Adams has photographed for<br />
magazines including Interview, i-D, Harper’s Bazaar, and British and German Vogue. In 2003 he founded Zoo Magazine<br />
for which he has received a Goldene Feder Award. In 2006 Adams was honoured with a German Lead Award for his<br />
series of photographs of Mickey Rourke. Adams’ photographic exhibitions include those held at the Saatchi Gallery<br />
and the National Portrait Gallery in London, and the Haus der Kunst in Munich.<br />
Exhibition: Galerie Ostlicht, Vienna, 19 June to 22 September 2013<br />
Bryan Adams<br />
Exposed<br />
Foreword by Elton John<br />
Book design by Sandor Lubbe, Carlo Elias, Edgar Smaling at SMEL<br />
304 pages<br />
9.8 x 13.1 in. / 25 x 33,3 cm<br />
180 photographs<br />
Tritone and four-colour process<br />
Clothbound hardcover with foil embossing and a tipped-in photo,<br />
protected by an acetate jacket<br />
€ 68.00 / £ 54.00 / US$ 88.00<br />
ISBN 978-3-86930-500-4<br />
149
150
THIRD EDITION<br />
Isamu Noguchi<br />
A Sculptor’s World<br />
“In my long experience as an intimate witness of Noguchi’s work, I believe that whatever the external<br />
entities of his coordinate translating may be, they represent a faithful manifest of the intellectual and<br />
harmonic being, Noguchi. In my estimation, the evoluting array and extraordinary breadth of his<br />
conceptioning realizations document a comprehensive artist without peer in our time.”<br />
R. Buckminster Fuller<br />
A Sculptor’s World is the long awaited reprint of Isamu Noguchi’s 1968 autobiography. It remains Noguchi’s most<br />
comprehensive statement about the art that brought him international acclaim. Told in words and images, A Sculptor’s<br />
World is essential reading for anyone with an interest in the life and work of this seminal artist or a general interest in<br />
the art of sculpture. Reproduced in 2004 and since out of print, A Sculptor’s World is now in its third edition, reprinted<br />
by Steidl. This volume will include the original foreword by R. Buckminster Fuller. In addition, created for this edition, a<br />
time line is provided of major events in Isamu Noguchi’s life between 1968, when he wrote this autobiography, and his<br />
death in 1988.<br />
Isamu Noguchi, born in1904, was among the most influential sculptors of the twentieth century. Born in Los Angeles<br />
to an Irish-American teacher and editor and a Japanese poet, he was raised in Japan until being sent back to the United<br />
States to study at age 13. In 1926, Noguchi won one of the first Guggenheim fellowships and travelled to Paris where<br />
he worked for six months as a studio assistant to sculptor Constantin Brancusi. In addition to his sculptural work, he<br />
created furniture and lighting for the Herman Miller Company, designed sets for choreographers Martha Graham and<br />
Georg Balanchine and collaborated with architect Louis I. Kahn, among others.<br />
Co-published with The lsamu Noguchi Foundation and Garden Museum, New York<br />
Isamu Noguchi<br />
A Sculptor’s World<br />
Text by Isamu Noguchi<br />
Foreword by R. Buckminster Fuller<br />
260 pages<br />
9.25 x 10 in./ 23,7 x 25,5 cm<br />
168 photographs<br />
Tritone and four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 48.00 / £ 40.00 / US$ 60.00<br />
ISBN 978-3-88243-970-0<br />
151
152
SECOND EDITION<br />
Arnold Odermatt<br />
Karambolage<br />
This is the new and revised edition of Arnold Odermatt’s acclaimed book, first published in 2003. With thoroughness<br />
and meticulous attention to detail, Swiss police officer Arnold Odermatt photographed automobile accidents on the<br />
streets of the Swiss Canton Nidwalden, documenting accident scenes and property damage during his 40-year career.<br />
In his photos the drivers have gone and the victims have been removed. All that’s left are the wrecked cars that tell the<br />
stories of excessive speed, drunk driving, right-of-way errors and plain foolishness. The de-formed steel takes on a<br />
malleable quality. The cars become sculptures that show the sudden end to many hopes and dreams, the intrusion of<br />
the unforeseen into well-regulated daily life. What results from the picture-taking policeman’s official work is a selection<br />
of melancholic, sometimes funny and always strange atmospheric photos of our mobile society.<br />
Arnold Odermatt was born in the canton of Nidwalden in 1925. He joined the police force in 1948 and retired in 1990<br />
with the rank of first lieutenant, chief of traffic police and vice commandant of the Nidwalden Police Department. His<br />
photographs were exhibited at the 49th Venice Biennale in 2001, at the Art Institute of Chicago and at the Fotomuseum<br />
Winterthur. Steidl has also published Odermatt’s On Duty and Off Duty, currently available in revised editions.<br />
Urs Odermatt, born in Stans in 1955, studied film direction and screenwriting with Krzysztof Kieślowski and works as<br />
a film and theater director. Since 1993, he has been publishing his father’s work.<br />
All plates new and improved, printed in tritone!<br />
Arnold Odermatt<br />
Karambolage<br />
New and revised edition<br />
Edited by Urs Odermatt<br />
Book design by Urs Odermatt and Gerhard Steidl<br />
408 pages<br />
11 x 12.6 in. / 28 x 32 cm<br />
460 photographs<br />
Tritone<br />
Clothbound hardcover with dust jacket<br />
€ 65.00 / £ 54.00 / US$ 80.00<br />
ISBN 978-3-88243-866-6<br />
153
154
Arnold Odermatt<br />
On Duty<br />
This is the new and revised edition of Arnold Odermatt’s acclaimed On Duty, first published in 2006. Police officer and<br />
photographer Arnold Odermatt became famous in his retirement on the publication of Karambolage, his photographic<br />
journal about the traffic accidents that were part of his professional life in the Swiss canton of Nidwalden. The small<br />
police force in the Nidwalden communities was worried about who could take over its work because the village youth<br />
did not see themselves wearing uniforms and walking the beat. On Duty brings together the photographs which were<br />
Odermatt’s attempt to disabuse them of their misconceptions. He sent his colleagues to the barber shop and theatrically<br />
recreated the adventure in their daily routines. On Duty is a compelling sequence of colourful tableaux and an impressive<br />
document and insight to a hidden world.<br />
Arnold Odermatt was born in the canton of Nidwalden in 1925. He joined the police force in 1948 and retired in 1990<br />
with the rank of first lieutenant, chief of traffic police and vice commandant of the Nidwalden Police Department. His<br />
photographs were exhibited at the 49th Venice Biennale in 2001, at the Art Institute of Chicago and at the Fotomuseum<br />
Winterthur. Steidl has also published Odermatt’s Off Duty and Karambolage, currently available in revised editions.<br />
Urs Odermatt, born in Stans in 1955, studied film direction and screenwriting with Krzysztof Kieślowski and works as<br />
a film and theater director. Since 1993, he has been publishing his father’s work.<br />
All new and improved colour plates!<br />
SECOND EDITION<br />
Arnold Odermatt<br />
On Duty<br />
New and revised edition<br />
Edited by Urs Odermatt<br />
Book design by Urs Odermatt and Gerhard Steidl<br />
336 pages<br />
11 x 12.6 in. / 28 x 32 cm<br />
167 photographs<br />
Four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 65.00 / £ 54.00 / US$ 80.00<br />
ISBN 978-3-86521-336-5<br />
155
156
SECOND EDITION<br />
Arnold Odermatt<br />
Off Duty<br />
This is the new and revised edition of Arnold Odermatt’s acclaimed Off Duty, first published in 2010. Does any family<br />
not have family photos? Every other picture taken is a family photograph and most are glanced at quickly and just as<br />
quickly wiped from memory. In this sea of sameness, Arnold Odermatt’s family photos bear his<br />
signature style, standing out for their clarity and order and the detached demeanor of his subjects. Arnold Odermatt,<br />
police officer and photographer, achieved fame with his photographic journal of car accidents, Karambolage. His last<br />
book, On Duty, documented the small police corps with which he worked for many years, effectively advertising their<br />
skills and services. In this book, Off Duty, he shows life after the officer has parked his cruiser in the garage, turned off<br />
the scanner and hung his uniform in the closet. Showered and clad in fresh shirts and clean blouses, the photographer’s<br />
spouse, son and daughter wait in the living room or garden for their close-ups. Sometimes they wait patiently and at other<br />
times they are annoyed – not very different from the reactions of colleagues on duty, who also learned that a good photograph<br />
takes time. Odermatt created an impressive document of life within a small village, where the police officer offduty<br />
was not exactly private but civilian.<br />
Arnold Odermatt was born in the canton of Nidwalden in 1925. He joined the police force in 1948 and retired in 1990<br />
with the rank of first lieutenant, chief of traffic police and vice commandant of the Nidwalden Police Department. His<br />
photographs were exhibited at the 49th Venice Biennale in 2001, at the Art Institute of Chicago and at the Fotomuseum<br />
Winterthur. Steidl has also published Odermatt’s On Duty and Karambolage, currently available in revised editions.<br />
Urs Odermatt, born in Stans in 1955, studied film direction and screenwriting with Krzysztof Kieślowski and works as<br />
a film and theater director. Since 1993, he has been publishing his father’s work.<br />
All new and improved colour and tritone plates!<br />
Arnold Odermatt<br />
Off Duty<br />
New and revised edition<br />
Edited by Urs Odermatt<br />
Book design by Urs Odermatt and Gerhard Steidl<br />
360 pages<br />
11 x 12.6 in. / 28 x 32 cm<br />
362 photographs<br />
Tritone and four-colour process<br />
Clothbound hardcover with dust jacket<br />
€ 65.00 / £ 54.00 / US$ 80.00<br />
ISBN 978-3-86521-796-7<br />
157
158
THIRD EDITION<br />
Yves Marchand and Romain Meffre<br />
The Ruins of Detroit<br />
“The state of ruin is essentially a temporary situation that happens at some point, the volatile result<br />
of a change of era and the fall of empires. Ruins are a fantastic land where one no longer knows<br />
whether reality slips into a dream or whether, on the contrary, dream makes a brutal return into the<br />
most violent of realities.”<br />
Yves Marchand and Romain Meffre<br />
Over the past generation Detroit has suffered economically worse than any other of the major American cities and its<br />
rampant urban decay is now glaringly apparent. Yves Marchand and Romain Meffre have documented this disintegration,<br />
showcasing structures that were formerly a source of civic pride, and which now stand as monuments to the city’s fall<br />
from grace. This is the third edition of this award-winning book.<br />
Born in 1981 and 1987 in the Parisian suburbs, Yves Marchand and Romain Meffre began to photograph separately<br />
in 2001. They began to work as a duo at the beginning of their project on the ruins of Detroit in 2005.<br />
Yves Marchand and Romain Meffre<br />
The Ruins of Detroit<br />
Texts by Robert Polidori and Thomas J. Sugrue<br />
Book design by Yves Marchand, Romain Meffre, Sarah Winter,<br />
Jonas Wettre and Gerhard Steidl<br />
230 pages<br />
15 x 11.4 in. / 38 x 29 cm<br />
186 photographs<br />
Four-colour process<br />
Clothbound hardcover<br />
€ 88.00 / £ 78.00 / US$ 125.00<br />
ISBN 978-3-86930-042-9<br />
159
Robert Adams<br />
John Schott<br />
Henry Wessel Jr.<br />
160<br />
Frank Gohlke<br />
Nicholas Nixon<br />
Lewis Baltz
Britt Salvesen<br />
New Topographics<br />
This book is dedicated to the exhibition New Topographics: Photographs of a Man-Altered Landscape, held in 1975<br />
at the International Museum of Photography, and demonstrates both the historical significance of the show and its<br />
continued relevance in today’s culture.<br />
The show brought together Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas<br />
Nixon, John Schott, Stephen Shore, and Henry Wessel (Jr.). Signaling the emergence of a new approach to landscape,<br />
the exhibition effectively gave a name to a movement. Even today, the catchphrase New Topographics is used<br />
to characterize the work of artists not yet born when the exhibition was held. New Topographics has since come to be<br />
understood as marking a paradigm shift. The show occurred just as photography took its place within the contemporary<br />
art world. Arguably the last traditionally photographic style, New Topographics was also the first photo-conceptual<br />
style. Illustrated with selected works from the 1975 exhibition, installation views, and contextual comparisons, the<br />
book also includes an illustrated checklist of the show and an extensive bibliography.<br />
Britt Salvesen is Director and Chief Curator of the Center for Creative Photography, University of Arizona, Tucson.<br />
Co-published with the Center for Creative Photography, University of Arizona, and George Eastman House<br />
International Museum of Photography and Film<br />
SECOND EDITION<br />
Britt Salvesen<br />
New Topographics<br />
Book design by Michael Mack and Joby Ellis<br />
256 pages<br />
11.8 x 9.4 in. / 30 x 24 cm<br />
192 photographs<br />
Tritone and four-colour process<br />
Clothbound hardcover<br />
€ 49.00 / £ 44.00 / US$ 65.00<br />
ISBN 978-3-86521-827-8<br />
161
Marilyn Monroe<br />
Buster Keaton<br />
162<br />
Marlon Brando<br />
Ingrig Bergman
SECOND EDITION<br />
John Kobal Foundation (ed.)<br />
Glamour of the Gods<br />
Glamour of the Gods is a survey of Hollywood portraiture from the industry’s golden age, the period from 1920 to<br />
1960. All the photographs are drawn from the extraordinary archive of the John Kobal Foundation in London. John Kobal<br />
was the last century’s pre-eminent authority on Hollywood photography and was the first collector and later author who<br />
systematically sought to understand photography’s important role in creating and marketing the great stars central to<br />
the Hollywood mystique. Garbo, Dietrich, Cooper and Bogart are among the famous faces featured and in many cases<br />
these are the career defining images of their era. Most of the reproductions are from the archive’s original vintage prints.<br />
Film historian Robert Dance has written about John Kobal’s important place in Hollywood history and offers a lucid<br />
overview of the still and portrait photographer’s place in the Hollywood studio system. Critic and historian John Russell<br />
Taylor’s introduction draws from his memory of many years of friendship with Kobal.<br />
John Kobal Foundation (ed.)<br />
Glamour of the Gods<br />
Texts by Robert Dance and John Russell Taylor<br />
Book design by Joby Ellis<br />
288 pages<br />
9.8 x 12.2 in. / 25 x 31 cm<br />
250 photographs<br />
Four-colour process<br />
Softcover<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86521-682-3<br />
163
The Luxury of Handwriting<br />
Writing and sketching is part of my everyday life. When<br />
I write a letter or sketch an idea by hand, I care fully<br />
consider what I want to express. I focus my thoughts<br />
before I put them down on paper. Sometimes a word<br />
or a line does not quite fi t and I have to start all over<br />
again. I have to stop and think, and try to be even more<br />
precise. The physicality of this process is essential to<br />
my work.<br />
I still don’t know how to use a computer and I hate<br />
writing emails. I do so nevertheless because it’s considered<br />
a necessary form of business communication.<br />
When it comes to exchanging thoughts with artists I<br />
still prefer “handiwork” in the truest sense of the word.<br />
Handwriting is my medium of creative expres sion, it<br />
puts me into direct contact with the hand writ ing and<br />
drawing styles of others, enabling me to get to know<br />
and better understand them.<br />
In terms of fashion, emails are like cheap clothes you<br />
buy off the rack. A letter typed on a typewriter is like<br />
prêt-à-porter. A handwritten letter or a drawing is the<br />
ultimate luxury. It’s Haute Couture.<br />
GERHARD STEIDL
Pure paper – the<br />
Munken Works Collection<br />
The more fi ctitious our world becomes, the more we love the things<br />
that we can marvel at in a sensory manner. And that re tain their magic.<br />
This is exactly what Munken Works is. An object, made from the<br />
fi nest natural paper. Pure. Beau tiful. Inspirational.
Munken Works [S]<br />
Size (cm/inch) 7 × 12 / 2,76 × 4,72<br />
3 × 50 Sheets 80 g/m²<br />
Shade: Cream<br />
Paper: Munken Pure<br />
Substance (g/m²) / Basis Weight (lb): 80 / 54 Text<br />
ISBN: 978-3-86930-639-1<br />
€ 5.50 / £ 4.50 / US$ 6.95<br />
Munken Works [M]<br />
Size (cm/inch): 15 × 15 / 5,9 × 5,9<br />
900 Sheets 120 g/m²<br />
Shade: Cream<br />
Paper: Munken Pure Rough<br />
Substance (g/m²) /Basis Weight (lb): 120 / 81 Text<br />
ISBN: 978-3-86930-641-4<br />
€ 14.50 / £ 11.50 / US$ 19.95<br />
Munken Works [L]<br />
Size (cm/inch): 21 × 21 / 8,3 × 8,3<br />
180 Sheets 120 g/m²<br />
Shade: Cream<br />
Paper: Munken Pure Rough<br />
Substance (g/m²) /Basis Weight (lb): 120 / 81 Text<br />
ISBN: 978-3-86930-640-7<br />
€ 10.00 / £ 8.50 / US$ 14.95
Munken Works [XL]<br />
Size (cm/inch): 21 × 29,7 / 8,3 × 11,7<br />
180 Sheets 120 g/m²<br />
Shade: Cream<br />
Paper: Munken Pure Rough<br />
Substance (g/m²) /Basis Weight (lb): 120 / 81 Text<br />
ISBN: 978-3-86930-642-1<br />
€ 12.00 / £ 9.50 / US$ 16.95<br />
Munken Works [XXL]<br />
Size (cm/inch): 33 × 33 / 13 × 13<br />
180 Sheets 120 g/m²<br />
Shade: Cream<br />
Paper: Munken Pure Rough<br />
Substance (g/m²) /Basis Weight (lb): 120 / 81 Text<br />
ISBN: 978-3-86930-643-8<br />
€ 14.50 / £ 11.50 / US$ 19.95
SWEDISH PAPER EXCELLENCE<br />
The art of<br />
papermaking<br />
HOW ITS DONE<br />
In stock preparation, the fibres in the pulp are beaten<br />
to give the paper special properties, such as optimum<br />
strength and fi bre binding. In addition to pulp, the stock<br />
ingredients usually comprise of stock size, calcium carbonate,<br />
shading dye, and 99 % water.<br />
Paper production begins with the stock mixture being<br />
fed into the head box, which is the starting point of the<br />
paper machine, and sprayed onto what is called the wire.<br />
The wire section is basically the paper machine’s fi rst<br />
dewatering process. Using one or two wires or straining<br />
cloths, the water in the stock is removed with dewatering<br />
elements and vacuum, and the moisture content of<br />
the mixture decreases considerably. It is also in the wire<br />
section that the paper begins forming, and the fi bres<br />
orientate themselves mainly in the direction of the fast<br />
moving paper web.<br />
From the wire, the still wet pulp moves on to the press<br />
sec tion, where it is dewatered further using pressure between<br />
cylinders and felts. The pressure in the press section<br />
also infl uences the fi nished paper’s bulk, stiffness, opacity,<br />
strength and roughness.<br />
The next stage is the drying section, where the paper<br />
passes over a number of steam-heated cylinders, and the<br />
Head box<br />
MUNKEDAL MILL<br />
WIRE SECTION PRESS SECTION DRYING SECTION<br />
Upper wire<br />
Lower wire<br />
Munken has led the way in uncoated paper for many years<br />
as the perfect carrier for creative work. The Munken Design<br />
range is produced in Munkedal, a village about 100 km<br />
north of Gothenburg at the west coast of Sweden. The<br />
mill Arctic Paper Munkedals is situated by the Örekil River,<br />
one of Sweden's richest in salmon, which fl ows into the<br />
country's only tresholdfjord, the Gullmarn. Both the river<br />
and the fjord are conservation areas. The mill today is one<br />
of the most environmentally-friendly paper mills in the<br />
majority of the remaining water is removed. Only now,<br />
after the drying section in which almost all the moisture<br />
has been removed, can the word paper be used in its true<br />
sense. As the paper comes out of the pre-dryer, it is often<br />
surface sized. Surface sizing means that a thin fi lm of a<br />
sizing agent, most often starch, is applied to the surface<br />
for extra strength and printability.<br />
The paper then goes on to the after-dryer still at the same<br />
high speed, where it is dried after starch has been added.<br />
This stage is omitted if the paper is an unsized quality.<br />
Before the paper is completely ready and wound onto a<br />
large reel called a tambour reel, it is often calendared,<br />
pressed between cylinders, were pressure and friction are<br />
applied to reach the desired surface smoothness and the<br />
fi nal thickness. In the fi nal stage of the process, the fi nished<br />
paper is wound onto large tambour reels, and then<br />
cut down into smaller reels or sheets.<br />
The entire process in the paper machine takes very little<br />
time, between 10 and 30 seconds from stock to finished<br />
paper. During this brief sequence of events, the stock<br />
is dewatered and becomes paper. The paper machine is<br />
therefore, quite simply, a large dewatering machine.<br />
Pre-dryer Surface sizing After-dryer Calendering/smoothing Tambour reel<br />
world, established in 1871. Since the sixties, it has actively<br />
worked to reduce its environmental impact. For example,<br />
the mill has been work ing with water management and effi -<br />
cient water usage for many years as a part of the mills environmental<br />
strategy and today it is one of most efficient<br />
mills in the world when it comes to effi cient water usage.<br />
All Munken standard products are available as FSC and<br />
PEFC certified. FSC – The mark of re sponsible forestry.<br />
www.fsc.org. FSC-C022692
PROMOTION MATERIAL<br />
Poster 3<br />
The paper machine<br />
Head box<br />
In der Stoffaufbereitung werden die Fasern im Zellstoff<br />
gemahlen, damit das Papier bestimmte Eigenschaften wie<br />
optimale Festigkeit und Faserbindung erhält. Die<br />
Stoffmischung enthält ausser Zellstoff in der Regel die<br />
Bestandteile Stoffleim, Kalziumkarbonat, Tönungsfarbe und –<br />
99 Prozent – Wasser.<br />
Die Papierherstellung beginnt damit, dass die Mischung dem<br />
Three posters in a tube<br />
WIRE SECTION PRESS SECTION DRYING SECTION<br />
Upper wire<br />
Lower wire<br />
Stoffauflauf, also dem Eingang zur Papiermaschine,<br />
zugeführt und dann auf das sogenannte Sieb gesprüht wird.<br />
Die Siebpartie kann man als erste Entwässerungsstufe der<br />
Papiermaschine bezeichnen. Mit Hilfe von ein oder zwei<br />
Sieben oder Siebtüchern wird der Stoffmischung durch<br />
Trocknungselemente und Vakuum Wasser entzogen – die<br />
Feuchtigkeit in der Mischung sinkt erheblich. In der<br />
Siebpartie findet auch die Formatierung statt, wobei die<br />
Fasern sich meist in Längsrichtung der sich schnell<br />
bewegenden Papierbahn ausrichten.<br />
Vom Sieb gelangt die nasse Stoffmischung in die<br />
HOW TO MAKE PAPER<br />
Pressenpartie, wo sie mit Hilfe von Walzen und Filtern weiter<br />
entwässert wird. Der jeweilige Druck in der Pressenpartie ist<br />
ausschlaggebend für Volumen, Festigkeit, Opazität und<br />
Oberflächenrauigkeit des fertigen Papiers. Die nächste<br />
Station ist die Trockenpartie, in der das Papier eine Reihe<br />
dampfbeheizter Stahlzylinder durchläuft, wobei der Großteil<br />
der noch vorhandenen Feuchtigkeit entweicht. Erst jetzt,<br />
nachdem fast die gesamte Feuchtigkeit entzogen ist, kann<br />
man eigentlich von Papier reden. Wenn das Papier den<br />
Vortrockner verlässt, erfolgt oft die Oberflächenleimung. Dabei<br />
wird ein dünner Leimfilm - in den meisten Fällen Stärke - auf die<br />
Oberfläche aufgebracht, um sie zu verstärken und die<br />
Druckeigenschaften zu verbessern.<br />
Anschliessend wird das Papier mit unverminderter<br />
Geschwindigkeit dem Nachtrockner zugeführt. Bei ungeleimten<br />
Papieren kann diese Stufe übersprungen werden.<br />
Bevor das fertige Papier auf den sogenannten Tambour gerollt<br />
wird, wird es oft kalandriert (geglättet), d.h. zwischen Walzen<br />
gepresst, deren Druck und Reibung je nach gewünschter<br />
Poster 1<br />
The object<br />
Pre-dryer Surface sizing<br />
After-dryer Calendering/smoothing<br />
Tambour reel<br />
Oberflächenrauigkeit und Dicke eingestellt sind. In der letzen Phase des<br />
Prozesses wird das fertige Papier auf grosse Tamboure gerollt und dann zu<br />
kleineren Rollen oder Bogenformaten geschnitten.<br />
Der gesamte Prozess in der Maschine nimmt nur geringe Zeit in Anspruch,<br />
zwischen 10 und 30 Sekunden vom Ausgangsstoff zum fertigen Papier. In dieser<br />
kurzen Abfolge wird der Stoff entwässert und verwandelt sich in Papier. Die<br />
Papiermaschine ist also im Prinzip eine grosse Entwässerungsmaschine.<br />
Poster 2<br />
The paper collection<br />
This is MUNKEN PURE ROUGH 150 g/m² by ARCTIC PAPER
BACKLIST<br />
173
Berenice Abbott<br />
Documenting Science<br />
Clothbound hardcover with a tippedin<br />
photo<br />
11.6 x 12.2 in. / 29.5 x 31 cm, 180 pp<br />
93 photographs, Tritone<br />
€ 58.00 / £ 50.00 / US$ 75.00<br />
ISBN 978-3-86930-431-1<br />
Adams, Robert<br />
Gone?<br />
Clothbound hardcover with<br />
dust jacket<br />
25.4 x 25.4 cm, 128 pp<br />
118 tritone photographs<br />
€ 49.50 / £ 44.00 / US$ 69.95<br />
ISBN 978-3-86521-917-6<br />
Alÿs, Francis<br />
Sign Painting Project<br />
Hardcover<br />
26.5 x 14 cm, 220 pp<br />
300 photographs<br />
€ 45.00 / £ 38.00 / US$ 64.00<br />
ISBN 978-3-86521-290-0<br />
174<br />
A-chan<br />
Off Beat<br />
Otabind softcover<br />
7.5 x 9.4 in. / 19 x 24 cm, 64 pp<br />
45 photographs, Tritone<br />
€ 20.00 / £ 16.00 / US$ 25.00<br />
ISBN 978-3-86930-416-8<br />
Adams, Robert<br />
Tree line<br />
Clothbound hardcover with<br />
dust jacket<br />
25.6 x 27.6 cm, 128 pp<br />
Tritone<br />
€ 35.00 / £ 30.00 / US$ 50.00<br />
ISBN 978-3-86521-956-5<br />
Dirk Alvermann<br />
Algeria<br />
Softcover<br />
4.3 x 7.1 in. / 10.8 x 18 cm, 224 pp<br />
162 photographs, Tritone<br />
€ 18.00 / £ 15.00 / US$ 28.00<br />
ISBN 978-3-86930-255-3<br />
BACKLIST<br />
A-chan<br />
Vibrant Home<br />
Otabind softcover<br />
9.3 x 11 in. / 23.5 x 28 cm, 104 pp<br />
68 colour photographs<br />
€ 20.00 / £ 16.00 / US$ 25.00<br />
ISBN 978-3-86930-415-1<br />
Abdsessemed, Adel<br />
I am Innocent<br />
Clothbound hardcover with dust jacket<br />
26 x 35 cm, 260 pp<br />
€ 30.00 / £ 22.00 / US$ 38.00<br />
ISBN 978-3-86930-541-7<br />
Bailey, David<br />
Bailey’s Democracy<br />
Clothbound hardcover<br />
26 x 33 cm, 160 pp<br />
47 tritone plates<br />
€ 44.00 / £ 30.00 / US$ 55.00<br />
ISBN 978-3-86521-192-7<br />
Achermann, Beda<br />
Big Time - Männervogue, 1984-1989<br />
Softcover in a slipcase<br />
26.3 x 35 cm, 384 pp<br />
300 photographs, Four-colour<br />
process<br />
€ 65.00 / £ 54.00 / US$ 85.00<br />
ISBN 978-3-86930-638-4<br />
Miles Aldridge<br />
Other Pictures<br />
Clothbound hardcover with a tippedin<br />
photo, housed in a slipcase<br />
15.4 x 10.6 in. / 39 x 27 cm, 140 pp<br />
94 colour photographs<br />
€ 68.00 / £ 54.00 / US$ 85.00<br />
ISBN 978-3-86930-437-3<br />
Bailey, David<br />
Havana<br />
Leatherbound hardcover<br />
26 x 33 cm, 176 pp<br />
Four colour process<br />
€ 45.00 / £ 30.00 / US$ 55.00<br />
ISBN 978-3-86521-270-2
Bailey, David<br />
Is That So Kid<br />
Hardcover<br />
26 x 33 cm , 72 pp<br />
51 tritone plates<br />
€ 40.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86521-632-8<br />
Bailey, David<br />
Flowers, Skulls, Contacts<br />
Leatherbound hardcover with<br />
a tipped-in photo<br />
26 x 33 cm, 300 pp<br />
€ 56.00 / £ 49.00 / US$ 75.00<br />
ISBN 978-3-86930-128-0<br />
Lewis Baltz<br />
Texts<br />
Clothbound hardcover with foil<br />
embossing and a bookmark,<br />
with an acetate dust jacket<br />
5.3 x 8.3 in. / 13.5 x 21 cm, 160 pp<br />
€ 24.00 / £ 20.00 / US$ 30.00<br />
ISBN 978-3-86930-436-6<br />
Bailey, David<br />
NY JS DB 62<br />
Hardcover<br />
26 x 33 cm, 72 pp<br />
3 colour and 24 tritone plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-414-0<br />
Bailey, David<br />
Eye<br />
Clothbound hardcover<br />
26 x 33 cm, 188 pp<br />
3 colour plates, 89 tritone plates<br />
€ 48.00 / £ 44.00 / US$ 75.00<br />
ISBN 978-3-86521-708-0<br />
Baltz, Lewis<br />
Candlestick Point<br />
Clothbound hardcover<br />
32.2 x 24.5 cm, 128 pp<br />
50 photographs, 72 tritone and 12<br />
colour plates<br />
€ 58.00 / £ 48,.00 / US$ 72.00<br />
ISBN 978-3-86930-109-9<br />
BACKLIST<br />
Bailey, David<br />
Pictures that Mark Can Do<br />
Clothbound hardcover<br />
26 x 33 cm, 176 pp<br />
164 colour plates<br />
€ 45.00 / £ 30.00 / US$ 55.00<br />
ISBN 978-3-86521-367-9<br />
Balet, Catherine<br />
Strangers in the Light<br />
Clothbound hardcover with dust<br />
jacket<br />
28 x 28.5 cm, 96 pp<br />
85 photographs, Four-colour process<br />
€ 28.00 / £ 24.00 / US$ 36.00<br />
ISBN 978-3-86930-285-0<br />
Banier, François-Marie<br />
Perdre la tête<br />
Hardcover<br />
18 x 24.7 cm, 256 pp<br />
160 tritone plates<br />
€ 26.00 / £ 20.00 / US$ 35.00<br />
ISBN 978-3-86521-234-4<br />
Bailey, David<br />
8 Minutes<br />
Clothbound hardcover<br />
26 x 33 cm, 264 pp<br />
Four colour process<br />
€ 44.00 / £ 40.00 / US$ 68.00<br />
ISBN 978-3-86521-864-3<br />
Lewis Baltz<br />
Rule Without Exception / Only<br />
Exceptions<br />
Two otabind softcovers held in a sleeve<br />
9.4 x 13.1 in. / 23.8 x 33.3 cm, 368 pp<br />
260 photographs, Duotone/four colour<br />
€ 65.00 / £ 50.00 / US$ 80.00<br />
ISBN 978-3-86930-110-5<br />
Banier, François-Marie<br />
Grandes Chaleurs<br />
Clothbound hardcover<br />
24 x 30 cm, 144 pp<br />
109 tritone plates<br />
€ 45.00 / £ 35.00 / US$ 59.90<br />
ISBN 978-3-86521-822-3<br />
175
Bar<strong>net</strong>t, Mariani (eds.)<br />
Hiroshima Ground Zero 1945<br />
Otabind softcover<br />
25.4 x 30.9 cm, 248 pp<br />
Four colour process<br />
€ 48.00 / £ 42.00 / US$ 68.00<br />
ISBN 978-3-86930-334-5<br />
Bolofo, Koto<br />
La Maison<br />
11 hardcover books, bound in craft<br />
paper with tipped-in photos, housed<br />
in a slipcase<br />
18 x 23.2 cm, 864 pp<br />
€ 175.00 / £ 149.00 / US$ 238.00<br />
ISBN 978-3-86521-912-1<br />
Bourdin, Guy<br />
A Message For You<br />
Hardcover<br />
24.5 x 30 cm, 320 pp<br />
250 photos, Four-colour process<br />
€ 48.00 / £ 38.00 / US$ 65.00<br />
ISBN 978-3-86930-551-6<br />
176<br />
Joseph Beuys, Klaus Staeck<br />
Honey is flowing in all directions<br />
Clothbound<br />
21 x 29.6 cm, 104 pp<br />
93 duotone plates<br />
€ 24.50 / £ 17.50 / US$ 29.95<br />
ISBN 978-3-88243-538-2<br />
Koto Bolofo<br />
Lord Snowdon<br />
Clothbound hardcover<br />
11.4 x 14.6 in. / 29 x 37 cm, 208 pp<br />
166 colour photographs<br />
€ 75.00 / £ 59.00 / US$ 99.00<br />
ISBN 978-3-86930-329-1<br />
Manuel Alvarez Bravo, Henri Cartier-<br />
Bresson, Walker Evans<br />
Documentary and Anti-Graphic<br />
Photographs<br />
Hardcover, 20 x 24 cm<br />
192 pages, 89 tritone plates<br />
€ 30.00 / £ 20.00 / US$ 35.00<br />
ISBN 978-3-86521-072-2<br />
BACKLIST<br />
Bolofo, Koto<br />
Große Komplikation / Grand<br />
Complication<br />
Three clothbound hardcovers housed<br />
in a slipcase<br />
29 x 37 cm, 274 pp<br />
€ 98 / £ 80.00 / US$ 118.00<br />
ISBN 978-3-86930-055-9<br />
Bolofo, Koto<br />
Venus Williams<br />
Clothbound hardcover with dust<br />
jacket, 29.7 x 34 cm, 100 pp<br />
90 colour and b/w plates<br />
€ 42.00 / £ 30.00 / US$ 60.00<br />
ISBN 978-3-86521-602-1<br />
Brohm, Joachim<br />
Areal<br />
Clothbound hardcover<br />
20.4 x 26.6 cm, 264 pp<br />
206 colour plates<br />
€ 35.00 / £ 22.50 / US$ 35.00<br />
ISBN 978-3-88243-878-9<br />
Bolofo, Koto<br />
Horse Power<br />
Clothbound hardcover<br />
29 x 37 cm, 144 pp<br />
197 photographs, four colour<br />
process<br />
€ 75.00 / £ 59.00 / US$ 99.00<br />
ISBN 978-3-86930-129-7<br />
Bolofo, Koto<br />
Vroom! Vroom!<br />
Hardcover<br />
29 x 37 cm, 96 pages<br />
84 colour plates<br />
€ 58.00 / £ 52.00 / US$ 75.00<br />
ISBN 978-3-86521-961-9<br />
Brush, Daniel<br />
Red Breathing<br />
Hardcover<br />
21.4 x 32 cm 128 pp<br />
€ 85.00 / £ 76.00 / $ 125.00<br />
ISBN 978-3-86521-746-2
Burtynsky, Edward<br />
China<br />
Clothbound hardcover<br />
38.1 x 30.5 cm, 180 pp<br />
80 colour plates<br />
€ 65.00 / £ 45.00 / US$ 85.00<br />
ISBN 978-3-86521-130-9<br />
Carroll, Mary Ellen<br />
Mary Ellen Carroll<br />
Softcover housed in a slipcase<br />
17.5 x 24.5 cm, 360 pp<br />
400 colour and b/w illustrations<br />
€ 35.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-618-2<br />
D'Agati, Mauro<br />
Alamar<br />
Clothbound hardcover<br />
29.5 x 25 cm, 156 pp<br />
87 colour plates<br />
€ 45.00 / £ 35.00 / US$ 59.95<br />
ISBN 978-3-86521-954-1<br />
Burtynsky, Edward<br />
Oil<br />
Clothbound hardcover<br />
37.5 x 29.5 cm, 140 pp<br />
100 colour plates<br />
€ 98.00 / £ 85.00 / US$ 128.00<br />
ISBN 978-3-86521-943-5<br />
Clarke, Brian<br />
WORK<br />
Seven clothbound hardcover books<br />
housed in a slipcase<br />
25.4 x 36.5 cm<br />
€ 180.00 / £ 150.00 / US$ 249.90<br />
ISBN 978-3-86521-633-5<br />
D’Agati, Mauro<br />
Sit Lux et Lux Fuit<br />
Clothbound Hardcover<br />
19 x 28.5 cm, 346 pp<br />
€ 56.00 / £ 35.00 / $ 45.00<br />
ISBN ISBN 978-3-86930-488-5<br />
BACKLIST<br />
Burtynsky, Edward<br />
Quarries<br />
Clothbound hardcover<br />
38.1 x 30.4 cm, 176 pp<br />
80 colour plates<br />
€ 68.00 / £ 60.00 / US$ 88.00<br />
ISBN 978-3-86521-456-0<br />
Cohen, John<br />
The High & Lonesome Sound<br />
Hardcover with a DVD and CD<br />
21 x 26 cm, 272 pp<br />
158 photographs, Tritone<br />
€ 45.00 / £ 35.00 / US$ 58.00<br />
ISBN 978-3-86930-254-6<br />
D'Agati, Mauro<br />
Palermo Unsung<br />
Hardcover<br />
22 x 30 cm, 104 pp<br />
55 tritone plates<br />
€ 45.00 / £ 39.50 / US$ 60.00<br />
ISBN 978-3-86521-918-3<br />
Callahan, Harry<br />
Seven Collages<br />
Clothbound hardcover<br />
28 x 32.4 cm, 32 pp<br />
7 tritone plates<br />
€ 40.00 / £ 34.00 / US$ 50.00<br />
ISBN 978-3-86930-140-2<br />
Cole, Ernest<br />
The Photographer<br />
Hardcover<br />
27 x 29 cm, 256 pp<br />
€ 45.00 / £ 38.00 / US$ 56.00<br />
ISBN 978-3-86930-137-2<br />
Bruce Davidson<br />
Black & White<br />
Five clothbound books, with tipped-in<br />
photos, housed in a slipcase<br />
11.6 x 11.4 inches / 29.5 x 29 cm,<br />
704 pp, 561 tritone plates<br />
€ 248.00 / £ 220.00 / US$ 345.00<br />
ISBN 978-3-86930-432-8<br />
177
Davidson, Bruce<br />
Outside Inside<br />
Three clothbound hardcover books<br />
housed in a slipcase<br />
23 x 30 cm, 944 pp<br />
Tritone<br />
€ 185.00 / £ 158.00 / US$ 195.00<br />
ISBN 978-3-86521-908-4<br />
Depardon, Raymond<br />
Manhattan Out<br />
Clothbound hardcover<br />
29.5 x 20.5 cm, 120 pp<br />
97 tritone plates<br />
€ 30.00 / £ 25.00 / US$ 49.50<br />
ISBN 978-3-86521-704-2<br />
Jim Dine<br />
Donkey in the Sea before Us<br />
Hardcover with dust jacket<br />
4.5 x 6.7 in. / 11.5 x 17 cm, 56 pp<br />
24 colour images<br />
€ 12.00 / £ 10.00 / US$ 18.00<br />
ISBN 978-3-86930-451-9<br />
178<br />
Dean, Tacita<br />
Darmstädter Werkblock<br />
Softcover, signed and numbered by<br />
the artist<br />
6 x 15.3 cm, 80 pp<br />
80 colour plates<br />
€ 85.00 / £ 70.00 / US$ 100.00<br />
ISBN 978-3-86521-703-5<br />
Derges, Susan<br />
Elemental<br />
Hardcover<br />
25 x 35 cm, pp 240<br />
€ 54.00 / £ 48.00 / US$ 75.00<br />
ISBN 978-3-86930-150-1<br />
Dine, Jim<br />
Birds<br />
Clothbound hardcover<br />
29.5 x 31.5 cm, 88 pp<br />
36 tritone plates<br />
€ 49.00 / £ 35.00 / US$ 50.00<br />
ISBN 978-3-88243-240-4<br />
BACKLIST<br />
Dean, Tacita<br />
Seven Books Grey<br />
Seven softcover books in a slipcase<br />
19.2 x 26 cm, 488 pp<br />
Four colour process<br />
€ 78.00 / £ 65.00 / US$ 98.00<br />
ISBN 978-3-86930-299-7<br />
diCorcia, Philip-Lorca<br />
Hustlers<br />
Hardcover<br />
33 x 44 cm, 160 pp<br />
66 photographs, Four-colour process<br />
€ 98.00 / £ 78.00 / US$ 128.00<br />
ISBN 978-3-86930-617-9<br />
Dine, Jim<br />
Entrada Drive<br />
Clothbound hardcover<br />
29.5 x 31.5 cm, 48 pp<br />
44 tritone plates<br />
€ 50.00 / £ 35.00 / US$ 70.00<br />
ISBN 978-3-86521-080-7<br />
Demarchelier, Patrick<br />
Patrick Demarchelier<br />
Clothbound hardcover with dust<br />
jacket, 27 x 31 cm<br />
408 pp, 410 colour and b/w plates<br />
€ 68.00 / £ 48.50 / US$ 99.00<br />
ISBN 978-3-86521-736-3<br />
Diépois, Aline / Gizolme, Thomas<br />
Abstrakt Zermatt<br />
Clothbound hardcover with dust jacket<br />
23 x 30 cm, 96 pp<br />
73 photographs, Tritone and fourcolour<br />
process<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86930-580-6<br />
Dine, Jim<br />
The Photographs,<br />
So Far (vols. 1-4)<br />
Four books housed in<br />
a slipcase, 21.3 x 28.5 cm<br />
1046 pp, 548 plates<br />
€ 150.00 / £ 100.00 / US$ 150.00<br />
ISBN 978-3-88243-905-2
Dine, Jim<br />
Hot Dream (52 books)<br />
52 hardcover books housed in a<br />
cardboard box, 17 x 23.5 cm<br />
b/w, tritone and four colour process<br />
€ 380.00 / £ 327.00 / US$ 480.00<br />
ISBN 978-3-86521-693-9<br />
Jim Dine<br />
Hello Yellow Glove<br />
Softcover<br />
21 x 28 cm, 64 pp<br />
€ 25.00 / £ 20.00 / US$ 34.00<br />
ISBN 978-3-86930-484-7<br />
Eggleston, William<br />
Los Alamos<br />
Three clothbound hardcover books<br />
with tipped-in photos, housed in a<br />
slipcase<br />
31.5 x 32 cm, 432 pp<br />
€ 248.00 / £ 220.00 / $ 345.00<br />
ISBN 978-3-86930-532-5<br />
Dine, Jim<br />
This Goofy Life of Constant<br />
Mourning<br />
Clothbound flexible hardcover<br />
21.5 x 25 cm, 296 pp<br />
181 colour plates<br />
€ 70.00 / £ 48.00 / US$ 80.00<br />
ISBN 978-3-88243-967-0<br />
Doisneau, Robert<br />
From Craft to Art<br />
Hardcover<br />
17 cm x 24 cm, 160 pp<br />
Tritone<br />
€ 38.00 / £ 34.00 / US$ 55.00<br />
ISBN 978-3-86930-025-2<br />
Eggleston, William<br />
Before Color<br />
Hardcover<br />
22.5 x 25.5 cm, 200 pp<br />
Quadrotone<br />
€ 48.00 / £ 40.00 / US$ 65.00<br />
ISBN 978-3-86930-122-8<br />
BACKLIST<br />
Dine, Jim<br />
Night Fields, Day Fields – Sculpture<br />
Softcover<br />
23 x 28 cm, 144 pp<br />
75 photographs, four colour process<br />
€ 35.00 / £ 29.00 / US$ 42.00<br />
ISBN 978-3-86930-204-1<br />
D’Orgeval, Martin<br />
The Soul<br />
Clothbound hardcover<br />
42 x 34.3 cm, 80 pp<br />
Four colour process<br />
€ 65.00 / £ 57.00 / US$ 88.00<br />
ISBN 978-3 -86930-072-6<br />
Elkoury, Fouad<br />
Be ... Longing<br />
Hardcover<br />
18 x 24 cm, 160 pp<br />
Four colour process and tritone<br />
€ 28.00 / £ 25.00 / US$ 45.00<br />
ISBN 978-3-86930-345-1<br />
Dine, Jim<br />
This Is How I Remember Now<br />
Hardcover<br />
21 x 24.5 cm, 350 pp<br />
Four colour process<br />
€ 48.00 / £ 33.00 / US$ 70.00<br />
ISBN 978-3-86521-603-8<br />
William Eggleston<br />
Chromes<br />
Three clothbound hardcovers with<br />
tipped-in photos, housed in a slipcase<br />
12.4 x 12.6 in. / 31.5 x 32 cm, 744 pp<br />
364 colour photographs<br />
€ 248.00 / £ 220.00 / US$ 345.00<br />
ISBN 978-3-6930-311-6<br />
Eneroth, Joakim<br />
Swedish Red<br />
Clothbound hardcover<br />
17 x 25.6 cm, 48 pp<br />
32 photographs, Four-colour process<br />
€ 28.00 / £ 20.00 / US$ 35.00<br />
ISBN 978-3-86521-613-7<br />
179
Elston, Annabel<br />
Land<br />
Paperbound hardcover with a tippedin<br />
photo<br />
29.5 x 24.5 cm, 112 pp<br />
52 photographs, Four-colour process<br />
€ 34.00 / £ 28.00 / US$ 40.00<br />
ISBN 978-3-86521-744-8<br />
Epstein, Mitch<br />
Berlin<br />
Clothbound hardcover in a slipcase<br />
24.5 x 29.5 cm, 72 pp<br />
Four colour process<br />
€ 45.00 / £ 36.00 / US$ 55.00<br />
ISBN 978-3-86930-224-9<br />
Fäldt, Tobias<br />
Year One<br />
Clothbound hardcover with<br />
dust jacket<br />
18.5 x 25 cm, 128 pp<br />
120 colour plates<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86521-537-6<br />
180<br />
Engström, JH<br />
CDG / JHE<br />
Hardcover<br />
29.7 x 23 cm, 112 pp<br />
66 colour plates<br />
€ 38.00 / £ 28.00 / US$ 48.00<br />
ISBN 978-3-86521-538-3<br />
Epstein, Mitch<br />
Work<br />
Hardcover<br />
22.9 x 26.6 cm, 276 pp<br />
226 duotone and 138 colour plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-281-8<br />
Forsslund, Maja<br />
Akt<br />
Clothbound hardcover with a tippedin<br />
photo on the back<br />
29.5 x 23.6 cm, 80 pp<br />
40 photographs, Tritone<br />
€ 48.00 / £ 38.00 / US$ 58.00<br />
ISBN 978-3-86521-410-2<br />
BACKLIST<br />
Engström, JH<br />
Haunts<br />
Clothbound hardcover with dust<br />
jacket, 24.2 x 30.5 cm, 216 pp<br />
127 colour and duotone plates<br />
€ 50.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86521-297-9<br />
Epstein, Mitch<br />
American Power<br />
Clothbound hardcover with<br />
dust jacket, 29.5 x 26.5 cm<br />
144 pp, 64 colour plates<br />
€ 58.00 / £ 48.00 / US$ 72.00<br />
ISBN 978-3-86521-924-4<br />
Franck, Martine<br />
Women / Femmes<br />
Clothbound hardcover with<br />
a tipped-in photo<br />
20.5 x 22.5, 152 pp<br />
€ 35.00 / £ 31.00 / US$ 50.00<br />
ISBN 978-3-86930-149-5<br />
Epstein, Mitch<br />
New York Arbor<br />
Hardcover<br />
36 x 30 cm, 96 pp<br />
42 photographs, Tritone<br />
€ 58.00 / £ 38.00 / US$ 68.00<br />
ISBN 978-3-86930-581-3<br />
Eskildsen, Joakim / Rinne, Cia<br />
The Roma Journeys<br />
Hardcover with a CD of field<br />
recordings and music recorded on<br />
the journeys, 23.3 x 26.6 cm<br />
369 pp, 329 colour plates<br />
€ 60.00 / £ 52.00 / US$ 78.00<br />
ISBN 978-3-86521-371-6<br />
Frank, Robert<br />
The Americans<br />
Clothbound hardcover with<br />
dust jacket<br />
20.9 x 18.4 cm<br />
180 pp, 83 tritone plates<br />
€ 30.00 / £ 20.00 / US$ 39.95<br />
ISBN 978-3-86521-584-0
Frank, Robert<br />
Looking In: Robert Frank’s The<br />
Americans – Expanded Edition<br />
Hardcover, 24 x 29.2 cm, 528 pp<br />
108 colour, 168 tritone, 210 duotone<br />
plates<br />
€ 69.00 / £ 49.90 / US$ 85.00<br />
ISBN 978-3-86521-806-3<br />
Frank, Robert<br />
The Complete Film Works<br />
Vol. 2: OK End Here, Conversations,<br />
Liferaft Earth<br />
Three DVDs in a film-roll box<br />
€ 78.00 / £ 75.00 / US$ 140.00<br />
ISBN 978-3-86521-525-3<br />
Frank, Robert<br />
Pull My Daisy<br />
Hardcover<br />
13.7 x 20.2 cm, 64 pp<br />
53 tritone plates<br />
€ 17.50 / £ 14.00 / US$ 27.50<br />
ISBN 978-3-86521-673-1<br />
Frank, Robert<br />
Black White and Things<br />
Softcover<br />
20 x 20.7 cm, 80 pp<br />
37 tritone plates<br />
€ 22.00 / £ 18.00 / US$ 29.95<br />
ISBN 978-3-86521-808-7<br />
Frank, Robert<br />
The Complete Film Works<br />
Vol. 3: Keep Busy, About me: A<br />
Musical, S-8 Stones<br />
Three DVDs in a film-roll box<br />
€ 78.00 / £ 75.00 / US$ 140.00<br />
ISBN 978-3-86521-591-8<br />
Frank, Robert<br />
Pull my Daisy<br />
DVD, text booklet and photomagazine<br />
housed in a cardboard box<br />
14.2 x 19.2 cm 88 pp<br />
€ 20.00 / £ 16.00 / $ 28.00<br />
ISBN 978-3-86930-428-1<br />
BACKLIST<br />
Frank, Robert<br />
Come Again<br />
Sewn softcover<br />
21.5 x 28 cm, 48 pp<br />
Colour matt inks with polaroid varnish<br />
€ 30.00 / £ 20.00 / US$ 40.00<br />
ISBN 978-3-86521-261-0<br />
Robert Frank<br />
The Complete Film Works / Volumes<br />
4, 5, 6<br />
Nine DVDs in film-roll boxes, housed<br />
in a cardboard box<br />
Nine films, 295 minutes<br />
€ 98.00 / £ 80.00 / US$ 150.00<br />
ISBN 978-3-86930-480-9<br />
Frank, Robert<br />
Henry Frank, Father Photographer<br />
Clothbound hardcover<br />
14 x 16.5 cm, 88 pp<br />
Tritone<br />
€ 24.00 / £ 20.00 / US$ 28.00<br />
ISBN 978-3-86521-814-8<br />
Frank, Robert<br />
The Complete Film Works<br />
Vol. 1: Pull My Daisy, The Sin of<br />
Jesus, Me and My Brother<br />
Three DVDs in a film-roll box<br />
€ 78.00 / £ 75.00 / US$ 140.00<br />
ISBN 978-3-86521-365-5<br />
Frank, Robert<br />
Frank Films – The Film and Video<br />
Work of Robert Frank<br />
Softcover<br />
17 x 24 cm, 304 pp<br />
B/w photographs throughout<br />
€ 32.00 / £ 27.00 / US$ 45.00<br />
ISBN 978-3-86521-815-5<br />
Frank, Robert<br />
Me and My Brother<br />
Softcover with DVD<br />
25 x 32.5 cm, 56 pp<br />
100 tritone plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-363-1<br />
181
Frank, Robert<br />
New York to Nova Scotia<br />
Hardcover<br />
22.7 x 30.4 cm, 112 pp<br />
27 duotone and 4 colour plates<br />
€ 25.00 / £ 17.50 / US$ 30.00<br />
ISBN 978-3-86521-013-5<br />
Frank, Robert<br />
Portfolio<br />
Brochure in printed envelope<br />
20.5 x 27.3 cm, 48 pp<br />
40 tritone plates<br />
€ 18.00 / £ 12.00 / US$ 20.00<br />
ISBN 978-3-86521-813-1<br />
Robert Frank<br />
You Would<br />
Otabind softcover housed in a slipcase<br />
8.1 x 9.8 in. / 20.5 x 25 cm, 48 pp<br />
41 photographs, Tritone and four colour<br />
process<br />
€ 25.00 / £ 22.00 / US$ 28.00<br />
ISBN 978-3-86930-418-2<br />
182<br />
Frank, Robert<br />
One Hour<br />
Clothbound hardcover<br />
10.5 x 15 cm, 96 pp<br />
14 tritone plates<br />
€ 18.00 / £ 12.50 / US$ 20.00<br />
ISBN 978-3-86521-364-8<br />
Frank, Robert<br />
Seven Stories<br />
Seven stapled softback albums<br />
housed in a slipcase<br />
14 x 10 cm, 124 pp<br />
93 colour plates, four colour process<br />
€ 25.00 / £ 20.00 / US$ 35.00<br />
ISBN 978-3-86521-789-9<br />
Frank, Robert<br />
Park / Sleep<br />
Otabind softcover, housed in a slipcase<br />
20.5 x 25 cm, 72 pp<br />
49 photographs, Tritone and fourcolour<br />
process<br />
€ 25.00 / £ 22.00 / US$ 30.00<br />
ISBN 978-3-86930-585-1<br />
BACKLIST<br />
Frank, Robert<br />
Paris<br />
Hardcover with dust jacket<br />
18.5 x 22 cm<br />
108 pp, 69 tritone plates<br />
€ 30.00 / £ 25.00 / US$ 45.00<br />
ISBN 978-3-86521-524-6<br />
Frank, Robert<br />
Storylines<br />
Softcover<br />
24.5 x 28 cm, 240 pp<br />
225 duotone and 25 colour photos<br />
€ 35.00 / £ 25.00 / US$ 40.00<br />
ISBN 978-3-86521-041-8<br />
Frank, Robert<br />
Zero Mostel reads a book<br />
Hardcover<br />
14.4 x 21.5 cm, 40 pp<br />
36 tritone plates<br />
€ 17.50 / £ 14.00 / US$ 27.50<br />
ISBN 978-3-86521-586-4<br />
Frank, Robert<br />
Pangnirtung<br />
Clothbound hardcover<br />
23 x 30.5 cm, 40 pp<br />
27 photographs, quadrotone<br />
€ 25.00 / £ 22.00 / US$ 32.00<br />
ISBN 978-3-86930-198-3<br />
Frank, Robert<br />
Tal Uf Tal Ab<br />
Otabind softcover housed in a slipcase<br />
20.5 x 25 cm, 40 pp<br />
Tritone<br />
€ 25.00 / £ 22.00 / US$ 28.00<br />
ISBN 978-3-86930-101-3<br />
Frank, Robert<br />
Valencia<br />
Colthbound Hardcover<br />
25.3 x 25.3 cm, 64 pp<br />
€ 34.00 / £ 27.00 / $ 27.00<br />
ISBN 978-3-86930-502-8
Peter Fraser<br />
A City in the Mind<br />
Clothbound hardcover with foil<br />
embossing<br />
11.2 x 12.6 in. / 28.5 x 32 cm, 80 pp<br />
50 colour photographs<br />
€ 48.00 / £ 34.00 / US$ 58.00<br />
ISBN 978-3-86930-453-3<br />
Gossage, John<br />
The Thirty-Two Inch Ruler / Map of<br />
Babylon<br />
Clothbound with dust jacket<br />
23.5 x 28.6 cm, 80 pp<br />
180 colour plates<br />
€ 45.00 / £ 40.00 / US$ 68.00<br />
ISBN 978-3-86521-710-3<br />
Grass, Günter<br />
Günter Grass Catalogue Raisonné 2<br />
- The Lithographs<br />
Hardcover with dust jacket<br />
24 x 31 cm, 742 pp<br />
356 illustrations<br />
€ 98.00 / £ 70.00 / US$ 125.00<br />
ISBN 978-3-86521-566-6<br />
Galinsky, Michael<br />
Malls Across America<br />
Hardcover<br />
25 x 30 cm, 128 pp<br />
62 photographs, Four colour process<br />
€ 48.00 / £ 40.00 / US$ 58.00<br />
ISBN 978-3-86930-547-9<br />
Robert Graham<br />
Early Work 1963–1973<br />
Clothbound hardcover with a tippedin<br />
image<br />
8 x 10 in. / 20.3 x 25.4 cm, 128 pp<br />
47 colour images<br />
€ 48.00 / £ 38.00 / US$ 65.00<br />
ISBN 978-3-86930-985-9<br />
Guirey, Kadir<br />
L´album d`Eddy<br />
Hardcover<br />
32.8 x 26.6 cm, 28 pp<br />
91 photographs, Four colour process<br />
€ 34.00 / £ 28.00 / US$ 45.00<br />
ISBN 978-3- 86930-548-6<br />
BACKLIST<br />
Goldberg, Jim<br />
Open See<br />
Four volumes in a printed sleeve<br />
16.5 x 26.1 cm, 200 pp<br />
Tritone and four colour process<br />
€ 40.00 / £ 36.00 / US$ 50.00<br />
ISBN 978-3-86521-826-1<br />
Grant, Alexandra / Reeves, Keanu<br />
Ode to Happiness<br />
Brochure in a clothbound slipcase<br />
20 x 32.5 cm, 40 pp<br />
€ 38.00 / £ 32.00 / $ 55.00<br />
ISBN 978-3-86930-209-6<br />
Gundlach, F.C.<br />
The Photographic Work<br />
Clothbound Hardcover with a dust<br />
jacket<br />
24 x 29.5 cm<br />
€ 58.00 / £ 45.00 / $ 78.00<br />
ISBN 978-3-86521-594-9<br />
Goldblatt, David<br />
On the Mines<br />
Clothbound Hardcover with foil<br />
embossing<br />
27.9 x 27.9 cm, 180 pp<br />
€ 58.00 / £ 48.00 / 75.00<br />
ISBN 978-3-86930-491-5<br />
Grass, Günter<br />
Günter Grass Catalogue Raisonné 1<br />
- The Etchings<br />
Hardcover with dust jacket<br />
24 x 31 cm, 608 pp<br />
303 illustrations<br />
€ 98.00 / £ 70.00 / US$ 125.00<br />
ISBN 978-3-86521-565-9<br />
Hara, Cristóbal<br />
Autobiography<br />
Hardcover<br />
18 x 24 cm, 96 pp<br />
69 colour plates<br />
€ 30.00 / £ 20.00 / US$ 40.00<br />
ISBN 978-3-86521-472-0<br />
183
Hoedt, Axel<br />
Once a Year<br />
Hardcover with dust jacket<br />
18 x 22 cm, 104 pp<br />
83 photographs, Four-colour process<br />
€ 28.00 / £ 22.00 / US$ 38.00<br />
ISBN 978-3-86930-597-4<br />
Horn, Roni<br />
Haraldsdóttir, part two<br />
Clothbound hardcover with<br />
foil embossing, 20.8 x 26 cm, 144 pp<br />
Four colour process and tritone<br />
€ 85.00 / £ 70.00 / US$ 95.00<br />
ISBN 978-3-86930-317-8<br />
Horn, Roni<br />
This is Me, This is You<br />
Hardcover<br />
18.5 x 23 cm, 192 pp<br />
96 colour plates<br />
€ 28.00 / £ 18.00 / US$ 25.00<br />
ISBN 978-3-88243-798-0<br />
184<br />
Herschdorfer, Nathalie<br />
Beauty Work<br />
Softcover<br />
24.2 x 23.5 cm, 120 pp<br />
145 photographs, Four-colour<br />
process<br />
€ 15.00 / £ 12.00 / US$ 20.00<br />
ISBN 978-3-86930-588-2<br />
Horn, Roni<br />
Cabi<strong>net</strong> of<br />
Hardcover<br />
30.5 x 35.6 cm<br />
76 pp, 36 colour plates<br />
€ 65.00 / £ 40.00 / US$ 65.00<br />
ISBN 978-3-88243-864-2<br />
Horn, Roni<br />
bird<br />
Clothbound hardcover<br />
28.4 x 30.5 cm, 36 pp<br />
20 colour plates<br />
€ 35.00 / £ 25.00 / US$ 50.00<br />
ISBN 978-3-86521-669-4<br />
BACKLIST<br />
Dan Holdsworth<br />
Blackout<br />
Clothbound hardcover with a tippedin<br />
photo<br />
11.3 x 13 in. / 28.6 x 33 cm, 80 pp<br />
33 colour photographs<br />
€ 48.00 / £ 38.00 / US$ 65.00<br />
ISBN 978-3-86930-454-0<br />
Horn, Roni<br />
Her, Her, Her, & Her<br />
Softcover<br />
24 x 24 cm<br />
128 pp, 120 duotone plates<br />
€ 35.00 / £ 24.00 / US$ 45.00<br />
ISBN 978-3-86521-035-7<br />
Horn, Roni<br />
Roni Horn aka Roni Horn<br />
Two volumes housed in<br />
a paper slipcase<br />
19 x 24 cm, 430 pp<br />
375 colour plates<br />
€ 50.00 / £ 42.00 / US$ 70.00<br />
ISBN 978-3-86521-831-5<br />
Horn, Roni<br />
Another Water<br />
Otabind softcover<br />
19.7 x 30 cm, 112 pp<br />
Four colour process<br />
€ 38.00 / £ 35.00 / US$ 58.00<br />
ISBN 978-3-86930-318-5<br />
Horn, Roni<br />
Index Cixous<br />
Softcover<br />
14 x 20.5 cm, 116 pp<br />
65 tritone and 15 colour plates<br />
€ 22.50 / £ 15.00 / US$ 30.00<br />
ISBN 978-3-86521-135-4<br />
Horn, Roni<br />
Her∂ubrei∂ at Home<br />
Softcover<br />
15.2 x 21.6 cm, 128 pp<br />
60 colour plates<br />
€ 20.00 / £ 13.00 / US$ 25.00<br />
ISBN 978-3-86521-457-7
Horn, Roni<br />
AKA<br />
Clothbound hardcover<br />
28.4 x 30.5 cm, 36 pp<br />
20 photographs, four colour process<br />
€ 35.00 / £ 25.00 / US$ 50.00<br />
ISBN 978-3-86930-133-4<br />
Chris Killip<br />
Arbeit / Work<br />
Clothbound hardcover with dust jacket<br />
11.2 x 10.4 in. / 28.5 x 26.5 cm<br />
136 pp<br />
84 Tritone photographs<br />
€ 38.00 / £ 28.00 / US$ 48.00<br />
ISBN 978-3-86930-457-1<br />
Kuhn, Mona<br />
Bordeaux<br />
Clothbound hardcover<br />
29.2 x 31 cm, 102 pp<br />
Four colour process<br />
€ 58.00 / £ 50.00 / US$ 78.00<br />
ISBN 978-3-86930-308-6<br />
Jacob, John P. (ed.)<br />
Kodak Girl<br />
Hardcover<br />
21.7 x 26 cm, 336 pp<br />
Four colour process<br />
€ 58.00 / £ 48.00 / US$ 78.00<br />
ISBN 978-3-86930-324-6<br />
Killip, Chris<br />
Seacoal<br />
Clothbound hardcover with<br />
dust jacket<br />
27 x 23 cm, 112 pp<br />
116 tritone plates<br />
€ 38.00 / £ 32.00 / US$ 48.00<br />
ISBN 978-3-86930-256-0<br />
Kuhn, Mona<br />
Evidence<br />
Clothbound hardcover<br />
29.2 x 31.1 cm, 108 pp<br />
33 tritone and 20 colour plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-372-3<br />
BACKLIST<br />
Stahel, Urs / Janser, Daniela (eds.)<br />
Amar Kanwar: Evidence<br />
Clothbound hardcover<br />
16 x 23 cm, 400 pp<br />
250 images, Four-colour process<br />
€ 35.00 / £ 22.00 / US$ 45.00<br />
ISBN 978-3-86930-540-0<br />
Kobal Foundation (ed.)<br />
Glamour of the Gods<br />
Softcover<br />
25 x 31 cm, 288 pp<br />
250 photographs, Four-colour<br />
process<br />
€ 38.00 / £ 30.00 / US$ 45.00<br />
ISBN 978-3-86521-682-3<br />
Kuhn, Mona<br />
Photographs<br />
Clothbound hardcover<br />
26.5 x 28.5 cm, 108 pp<br />
33 tritone and 20 colour plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-008-1<br />
Keita, Seydou<br />
Photographs, Bamako, Mali,<br />
1948–1963<br />
Clothbound hardcover with<br />
a tipped-in photo, 27.5 x 35.5 cm<br />
412 pp, 400 tritone plates<br />
€ 98.00 / £ 86.00 / US$ 148.00<br />
ISBN 978-3-86930-301-7<br />
Koudelka, Joseph<br />
Roma<br />
Clothbound hardcover with<br />
dust jacket<br />
32 x 24 cm, 224 pp<br />
109 quadrotone plates<br />
€ 48.00<br />
ISBN 978-3-86930-388-8<br />
Lagerfeld, Karl<br />
Byzantine Fragments<br />
Singer-stitched brochure housed in<br />
a slipcase, 30 x 40 cm, 52 pp<br />
25 photographs, 7-colour process on<br />
ivory parchment<br />
€ 85.00 / £ 72.00 / US$ 110.00<br />
ISBN 978-3-86930-246-1<br />
185
Lagerfeld, Karl<br />
Metamorphoses of an American<br />
Four clothbound hardcover books<br />
housed in a slipcase<br />
15.2 x 20 cm, 1144 pp<br />
864 tritone plates<br />
€ 65.00 / £ 45.00 / US$ 85.00<br />
ISBN 978-3-86521-522-2<br />
Leiter, Saul<br />
Early Color<br />
Clothbound hardcover<br />
20 x 20 cm, 168 pp<br />
Four colour process<br />
€ 48.00 / £ 42.00 / US$ 65.00<br />
ISBN 978-3-86521-139-2<br />
Maisel, David<br />
Black Maps<br />
Hardcover with dust jacket<br />
29.5 x 29.5 cm, 240 pp<br />
115 photographs, Duotone and fourcolour<br />
process<br />
€ 65.00 / £ 55.00 / US$ 85.00<br />
ISBN 978-3-86930-537-0<br />
186<br />
Lagerfeld, Karl<br />
Work in Progress<br />
Softcover<br />
20 x 25 cm, 192 pp<br />
120 colour photographs<br />
€ 20.00 / £ 17.00 / US$ 25.00<br />
ISBN 978-3-86930-261-4<br />
Leong, Sze Tsung<br />
History Images<br />
Clothbound hardcover<br />
34.2 x 27.9 cm, 144 pp<br />
80 colour plates<br />
€ 75.00 / £ 50.00 / US$ 90.00<br />
ISBN 978-3-86521-274-0<br />
Maggs, Arnaud<br />
Arnaud Maggs<br />
Papercovered hardcover<br />
30.5 x 24.2 cm, 216 pp<br />
200 photographs, Four-colour<br />
process and duotone<br />
€ 65.00 / £ 50.00 / US$ 80.00<br />
ISBN 978-3-86930-591-2<br />
BACKLIST<br />
Leaf, June<br />
Record 1974/75<br />
Clothbound hardcover<br />
18.3 x 30 cm, 188 pp<br />
Four colour process<br />
€ 40.00 / £ 35.00 / US$ 59.95<br />
ISBN 978-3-86930-045-0<br />
Henry Leutwyler<br />
Ballet<br />
Clothbound hardcover<br />
22 x 30 cm, 436 pp<br />
€ 65.00 / £ 50.00 / US$ 88.00<br />
ISBN 978-3-86930-544-8<br />
Marchand, Yves / Meffre, Romain<br />
Gunkanjima<br />
Clothbound hardcover<br />
38 x 29 cm, 80 pp<br />
60 photographs, Four colour process<br />
€ 65.00 / £ 50.00 / US$ 88.00<br />
ISBN 978-3-86930-546-2<br />
Lebeck, Robert<br />
Tokyo / Moscow / Leopoldville<br />
Three hardcover books in a slipcase<br />
21 x 29 cm, 576 pp<br />
380 b/w plates<br />
€ 65.00 / £ 55.00 / US$ 85.00<br />
ISBN 978-3-86521-527-7<br />
Lynch, David<br />
Works on Paper<br />
Hardcover in a sleeve<br />
28.5 x 39.5 cm, 528 pp<br />
Four colour process<br />
€ 145.00 / £ 125.00 / US$ 195.00<br />
ISBN 978-3-86930-130-3<br />
Mark, Mary Ellen<br />
Falkland Road: Prostitutes<br />
of Bombay<br />
Clothbound hardcover<br />
32.6 x 28.4 cm, 106 pp<br />
65 colour plates<br />
€ 55.00 / £ 40.00 / US$ 75.00<br />
ISBN 978-3-86521-128-6
Meiselas, Susan<br />
Carnival Strippers<br />
Clothbound hardcover<br />
27.3 x 23.4 cm, 164 pp<br />
78 tritone plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-88243-954-0<br />
Michals, Duane<br />
A Visit with Magritte<br />
Flexible hardcover<br />
15.5 x 20.5 cm, 64 pp<br />
Four colour process<br />
€ 24.00 / £ 22.00 / US$ 32.00<br />
ISBN 978-3-86521-987-9<br />
Mikhailov, Boris<br />
Maquette Braunschweig<br />
Hardcover<br />
24 x 34 cm, 272 pp<br />
Four colour process<br />
€ 48.00 / £ 43.00 / US$ 68.00<br />
ISBN 978-3-86521-834-6<br />
Meiselas, Susan<br />
In History<br />
Hardcover<br />
17.7 x 24.7 cm, 264 pp<br />
200 b/w and colour plates<br />
€ 50.00 / £ 40.00 / US$ 75.00<br />
ISBN 978-3-86521-685-4<br />
Michener, Diana<br />
Sweethearts<br />
Softcover<br />
17 x 11.5 cm, 224 pp<br />
Four colour process<br />
€ 15.00 / £ 14.00 / US$ 22.00<br />
ISBN 978-3-86521-713-4<br />
Morath, Inge<br />
First Color<br />
Clothbound hardcover<br />
25 x 32 cm, 336 pp<br />
Four colour process<br />
€ 38.00 / £ 34.00 / US$ 49.95<br />
ISBN 978-3-86521-930-5<br />
BACKLIST<br />
Mettig, Klaus<br />
Don’t Be Left Behind<br />
Clothbound hardcover with<br />
dust jacket<br />
23.5 x 31 cm, 328 pp<br />
Four colour process<br />
€ 48.00 / £ 42.00 /US$ 75.00<br />
ISBN 978-3-86521-595-6<br />
Michener, Diana<br />
Figure Studies<br />
Softcover sewn with red thread,<br />
housed in a black slipcase<br />
29 x 37 cm, 64 pp<br />
Quadrotone<br />
€ 28.00 / £ 24.00 / US$ 39.50<br />
ISBN 978-3-86930-213-3<br />
Christopher Morris<br />
Americans<br />
Clothbound hardcover with a dust<br />
jacket<br />
7.9 x 9.1 in. / 20 x 23 cm, 200 pp<br />
117 colour photographs<br />
€ 48.00 / £ 40.00 / US$ 68.00<br />
ISBN 978-3-86930-448-9<br />
Meunier, Sébastien<br />
Visual Pollution<br />
Clothbound hardcover with<br />
dust jacket<br />
29.5 x 32 cm, 120 pp<br />
€ 58.00 / £ 52.00 / US$ 78.00<br />
ISBN 978-3-86521-093-7<br />
Mikhailov, Boris<br />
Salt Lake<br />
Hardcover<br />
40 x 30 cm, 80 pp<br />
65 tritone plates<br />
€ 68.00 / £ 45.00 / US$ 65.00<br />
ISBN 978-3-88243-815-4<br />
Morris, Christopher<br />
My America<br />
Clothbound hardcover<br />
20 x 23 cm, 180 pp<br />
112 colour plates<br />
€ 34.00 / £ 27.00 / US$ 58.00<br />
ISBN 978-3-86521-201-6<br />
187
Munkacsi, Martin<br />
Martin Munkacsi<br />
Hardcover<br />
24 x 29 cm, 416 pp<br />
318 tritone plates<br />
€ 58.00 / £ 45.00 / US$ 78.00<br />
ISBN 978-3-86521-269-6<br />
Nozolino, Paulo<br />
Makulatur<br />
Singer-stiched brochure<br />
18 x 26 cm, 20 pp<br />
Tritone<br />
€ 24.00 / £ 21.00 / US$ 35.00<br />
ISBN 978-3-86930-327-7<br />
Parks, Gordon<br />
A Harlem Family 1967<br />
Hardcover with dust jacket<br />
25 x 29 cm, 112 pp<br />
100 photographs, Tritone<br />
€ 28.00 / £ 22.00 / US$ 38.00<br />
ISBN 978-3-86930-602-5<br />
188<br />
Nádas, Péter<br />
Own Death<br />
Clothbound hardcover<br />
18.5 x 26.2 cm, 288 pp<br />
161 colour plates<br />
€ 40.00 / £ 28.00 / US$ 50.00<br />
ISBN 978-3-86521-010-4<br />
Olsson, Mikael<br />
Södrakull Frösakull<br />
Clothbound hardcover with French<br />
fold jacket printed recto/verso<br />
25 x 26 cm 208 pp<br />
Four colour process<br />
€ 58.00 / £ 48.00 / US$ 72.00<br />
ISBN 978-3-86930-059-7<br />
Parks, Gordon<br />
Collected Works<br />
Five hardcover books in a slipcase<br />
25 x 29 cm, 1084 pp<br />
1,328 photographs, Tritone and four<br />
colour process<br />
€ 185.00 / £ 148.00 / US$ 285.00<br />
ISBN 978-3-86930-530-1<br />
BACKLIST<br />
Nozolino, Paulo<br />
bone lonely<br />
Hardcover<br />
18 x 26 cm, 72 pp<br />
Four colour process<br />
€ 34.00 / £ 32.00 / US$ 50.00<br />
ISBN 978-3-86521-861-2<br />
Orri<br />
Interiors<br />
Clothbound hardcover<br />
144 pages with a 16-page text booklet<br />
11.7 x 12.2 in. / 29.7 x 31 cm, 144 pp<br />
72 colour photographs<br />
€ 48.00 / £ 40.00 / US$ 68.00<br />
ISBN 978-3-86930-375-8<br />
Parr, Martin (ed.)<br />
The Protest Box<br />
Five books and a text booklet in<br />
a cardboard box<br />
Limited edition of 1,000 boxed sets<br />
€ 380.00 / £ 338.00 / US$ 500.00<br />
ISBN 978-3-86930-124-2<br />
Nozolino, Paulo<br />
Far Cry<br />
Clothbound hardcover<br />
24.8 x 32 cm, 136 pp<br />
78 tritone plates<br />
€ 45.00 / £ 30.00 / US$ 60.00<br />
ISBN 978-3-86521-122-4<br />
Packham, Monte<br />
Concentric Circles<br />
A Chronicle of Steidl Publishers<br />
Clothbound hardcover<br />
17 x 23 cm, 160 pp<br />
€ 20.00 / £ 17.00 / US$ 27.50<br />
ISBN 978-3-86930-024-5<br />
Parke, Trent<br />
The Christmas Tree Bucket, Trent<br />
Parke’s Family Album<br />
Clothbound hardcover<br />
10.8 x 8.8 in. / 27.5 x 22.4 cm, 128 pp<br />
61 colour photographs<br />
€ 58.00 / £ 50.00 / US$ 75.00<br />
ISBN 978-3-86930-206-5
Parke, Trent<br />
Minutes to Midnight<br />
Clothbound hardcover<br />
11.6 x 9.8 in. / 29.5 x 25 cm, 96 pp<br />
48 photographs, Tritone<br />
€ 58.00 / £ 50.00 / US$ 75.00<br />
ISBN 978-3-86930-205-8<br />
Pigozzi, Jean<br />
Catalogue Deraisonné<br />
Hardcover<br />
23.6 x 28.6 cm, 400 pp<br />
€ 56.00 / £ 48.00 / US$ 78.00<br />
ISBN 978-3-86930-034-4<br />
Polidori, Robert<br />
Points in between...Up till now<br />
Hardcover<br />
25 x 30 cm, 192 pp<br />
Four colour process<br />
€ 30.00 / £ 27.00 / US$ 45.00<br />
ISBN 978-3-86521-994-7<br />
Paulsen, Susan<br />
Wilmot<br />
Hardcover<br />
28 x 28 cm, 248 pp<br />
320 photographs, Four-colour<br />
process<br />
€ 48.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86930-574-5<br />
Pol, Andri<br />
Where is Japan<br />
Hardcover<br />
24.2 x 30 cm, 320 pp<br />
Four colour process<br />
€ 40.00 / £ 28.00 / US$ 45.00<br />
ISBN 978-3-86521-993-0<br />
Prinz, Bernhard<br />
Latifundia<br />
Hardcover<br />
22.8 x 27.9 cm, 180 pp<br />
114 colour plates<br />
€ 50.00 / £ 34.00 / US$ 65.00<br />
ISBN 978-3-86521-487-4<br />
BACKLIST<br />
Paulsen, Susan<br />
Sarah Ryhmes with Clara<br />
Clothbound hardcover<br />
23.5 x 27 cm, 128 pp<br />
Four colour process<br />
€ 40.00 / £ 34.00 / US$ 48.00<br />
ISBN 978-3-86930-244-7<br />
Polidori, Robert<br />
After the Flood<br />
Clothbound hardcover<br />
38.6 x 30 cm, 320 pp<br />
300 colour plates<br />
€ 75.00 / £ 50.00 / US$ 90.00<br />
ISBN 978-3-86521-277-1<br />
Rautert, Timm<br />
No Photographing (English)<br />
Clothbound hardcover with a belly<br />
band, 22 x 28 cm,156 pp<br />
Four colour process and duotone<br />
€ 38.00 / £ 32.00 / US$ 48.00<br />
ISBN 978-3-86930-322-2<br />
Picardie, Justine<br />
Chanel - Her Life<br />
Clothbound hardcover with<br />
dust jacket, housed in a sleeve<br />
15.4 x 23.5 cm, 400 pp<br />
€ 38.00 / £ 40.00 / US$ 58.00<br />
ISBN 978-3-86930-262-1<br />
Polidori, Robert<br />
Parcours Muséologique Revisité<br />
Three hardcover books housed in a<br />
slipcase, 29 x 29 cm<br />
744 pp, 480 colour plates<br />
€ 98.00 / £ 85.00 / US$ 124.90<br />
ISBN 978-3-86521-702-8<br />
Rodchenko<br />
MacGill, Peter / Steidl, Gerhard (eds.)<br />
Clothbound hardcover with dust jacket<br />
24.5 x 33 cm, 104 pp<br />
39 photographs, four colour process<br />
€ 40.00 / £ 32.00 / US$ 58.00<br />
ISBN 978-3-86930-245-4<br />
189
Rovner, Michal<br />
Fields<br />
Hardcover<br />
21 x 16 cm, 400 pp<br />
Four colour process<br />
€ 30.00 / £ 20.00 / US$ 40.00<br />
ISBN 978-3-86521-216-0<br />
Ruetz, Michael<br />
Eye on Time<br />
Hardcover with dust jacket<br />
29.7 x 21 cm, 360 pp<br />
290 tritone plates<br />
€ 48.00 / £ 35.00 / US$ 70.00<br />
ISBN 978-3-86521-577-2<br />
Ruscha, Ed<br />
Catalogue Raisonné of the Paintings,<br />
Volume 2: 1971-1982<br />
Clothbound hardcover housed in a<br />
slipcase, 24 x 29.2 cm, 526 pp<br />
Four colour process<br />
€ 160.00 / £ 110.00 / US$ 200.00<br />
ISBN 978-3-86521-138-5<br />
190<br />
Rowell, Margit<br />
Ed Ruscha , Photographer<br />
Clothbound hardcover with a tippedin<br />
photograph<br />
20.5 x 25.5 cm, 184 pp<br />
214 photographs, Tritone<br />
€ 38.00 / £ 30.00 / US $ 48.00<br />
ISBN 978-3-86521-206-1<br />
Ruscha, Ed<br />
Los Angeles Apartments<br />
Clothbound hardcover with a tippedin<br />
photograph<br />
20.5 x 25.5 cm, 160 pp<br />
80 photographs, Tritone<br />
€ 38.00 / £ 30.00 / US$ 48.00<br />
ISBN 978-3-86930-596-7<br />
Ruscha, Ed<br />
Catalogue Raisonné of the Paintings,<br />
Volume 3: 1983-1987<br />
Clothbound hardcover housed in a<br />
slipcase, 24 x 29.2 cm, 558 pp<br />
Four colour process<br />
€ 160.00 / £ 110.00 / US$ 210.00<br />
ISBN 978-3-86521-368-6<br />
BACKLIST<br />
Rubins, Nancy<br />
Work<br />
Two clothbound Hardcover and a<br />
softcover in a slipcase<br />
24 x 32 cm, 528 pp<br />
€ 125.00 / £ 100.00 / $ 175.00<br />
ISBN 978-3-86930-493-9<br />
Ruscha, Ed<br />
THEN & NOW<br />
Slipcased<br />
45 x 32 cm, 152 pp<br />
Four colour process<br />
€ 120.00 / £ 80.00 / US$ 175.00<br />
ISBN 978-3-86521-105-7<br />
Ruscha, Ed<br />
Catalogue Raisonné of the Paintings,<br />
Volume 4: 1988-1992<br />
Clothbound hardcover housed in a<br />
slipcase, 24 x 29.2 cm, 526 pp<br />
Four colour process<br />
€ 148.00 / £ 135.00 / US$ 219.90<br />
ISBN 978-3-86521-833-9<br />
Ruetz, Michael<br />
Eye on Infinity<br />
Hardcover<br />
29.5 x 29.5 cm, 252 pp<br />
112 tritone plates<br />
€ 48.00 / £ 35.00 / US$ 70.00<br />
ISBN 978-3-86521-766-0<br />
Ruscha, Ed<br />
Catalogue Raisonné of the Paintings,<br />
Volume 1: 1958-1970<br />
Clothbound hardcover<br />
24 x 29.2 cm, 436 pp<br />
Four colour process<br />
€ 160.00 / £ 110.00 / US$ 200.00<br />
ISBN 978-3-88243-972-4<br />
Ruscha, Ed<br />
Catalogue Raisonné of the Paintings,<br />
Volume 5: 1993 – 1997<br />
Clothbound hardcover housed in<br />
a slipcase, 24 x 29 cm, 504 pp<br />
Four colour process<br />
€ 165.00 / £ 138.00 / US$ 220.00<br />
ISBN 978-3-86930-251-5
Schaller, Matthias<br />
The Mill<br />
Hardcover<br />
29 x 23.5 cm, 120 pp<br />
55 colour plates<br />
€ 50.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86521-378-5<br />
Schorr, Collier<br />
Blumen<br />
Forest and Fields Volume 2.<br />
Hardcover<br />
25 x 31.4 cm, 104 pp<br />
53 colour and b/w plates<br />
€ 35.00 / £ 35.00 / US$ 50.00<br />
ISBN 978-3-86521-687-8<br />
Sewcz, Maria<br />
Inter esse<br />
Berlin 1985 – 87<br />
Clothbound hardcover<br />
29.5 x 23.6 cm, 80 pp<br />
35 photographs, four colour process<br />
€ 45.00 / £ 40.00 / US$ 58.00<br />
ISBN 978-3-86521-788-2<br />
Schaller, Matthias<br />
Purple Desk<br />
Clothbound hardcover with<br />
dust jacket, 25 x 29 cm<br />
72 pp, 30 colour plates<br />
€ 38.00 / £ 32.00 / US$ 49.90<br />
ISBN 978-3-86521-597-0<br />
Schorr, Collier<br />
There I Was<br />
Hardcover<br />
25 x 31.4 cm, 72 pp<br />
Four colour process<br />
€ 27.50 / £ 20.00 / US$ 40.00<br />
ISBN 978-3-86521-616-8<br />
Sheikh, Fazal<br />
Ladli<br />
Clothbound hardcover<br />
26.7 x 33 cm, 140 pp<br />
70 tritone plates<br />
€ 30.00 / £ 25.00 / US$ 45.00<br />
ISBN 978-3-86521-381-5<br />
BACKLIST<br />
Schoen, Geza / Steidl, Gerhard<br />
Paper Passion Perfume<br />
50 ml perfume in a glass bottle, presented<br />
in a cut out book and housed<br />
in a hand made cardboard box<br />
11.5 x 16 cm<br />
€ 85.00 / £ 68.00 / $ 98.00<br />
ISBN 978-3-86930-501-1<br />
Serra, Richard / Reinartz, Dirk<br />
Te Tuhirangi Contour<br />
Clothbound hardcover<br />
24 x 22 cm, 76 pp<br />
40 duotone plates<br />
€ 28.00 / £ 20.00 / US$ 35.00<br />
ISBN 978-3-86521-014-2<br />
Sheikh, Fazal<br />
Portraits<br />
Clothbound hardcover with<br />
dust jacket<br />
19.7 x 25 cm, 304 pp<br />
142 photographs, quadrotone<br />
€ 48.00 / £ 42.00 / US$ 65.00<br />
ISBN 978-3-86521-819-3<br />
Schorr, Collier<br />
Neighbors<br />
Forest and Fields Volume 1.<br />
Hardcover<br />
32 x 26 cm, 88 pp<br />
58 tritone plates<br />
€ 38.00 / £ 25.00 / US$ 45.00<br />
ISBN 978-3-86521-303-7<br />
Serra, Richard<br />
Notebooks<br />
Five books housed in a cardboard box<br />
Limited edition of 1,050, signed and<br />
numbered by the artist<br />
€ 420.00 / £ 350.00 / US$ 550.00<br />
ISBN 978-3-86930-253-9<br />
Sheikh, Fazal<br />
Moksha<br />
Clothbound hardcover<br />
26.7 x 33 cm, 220 pp<br />
170 tritone plates<br />
€ 65.00 / £ 45.00 / US$ 85.00<br />
ISBN 978-3-86521-125-5<br />
191
Sheikh, Fazal<br />
The Circle<br />
Clothbound hardcover<br />
17 x 22.5 cm, 114 pp<br />
108 tritone plates<br />
€ 30.00 / £ 20.00 / US$ 40.00<br />
ISBN 978-3-86521-599-4<br />
Singh, Dayanita<br />
File Room<br />
Softcover<br />
24 x 32 cm, 88 pp<br />
70 photographs, Tritone<br />
€ 30.00 / £ 25.00 / US$ 38.00<br />
ISBN 978-3-86930-542-4<br />
Soth, Alec<br />
Dog Days Bogotá<br />
Hardcover<br />
21.5 x 22.5 cm, 60 pp<br />
50 colour plates<br />
€ 25.00 / £ 22.00 / US$ 34.00<br />
ISBN 978-3-86521-451-5<br />
192<br />
Sigal, Ivan<br />
White Road<br />
Two books housed in a box<br />
18.5 x 25.5 cm, 472 pp<br />
225 tritone photographs<br />
€ 65.00 / £ 50.00 / US$ 88.00<br />
ISBN 978-3-86930-538-7<br />
Singh, Dayanita<br />
Dream Villa<br />
Flexible plastic softcover<br />
10 x 20 cm, 136 pp<br />
Four colour process<br />
€ 28.00 / £ 24.00 / US$ 38.00<br />
ISBN 978-3-86521-985-5<br />
Soth, Alec<br />
Sleeping by the Mississippi<br />
Clothbound hardcover with<br />
a tipped-in photo<br />
28.5 x 27.5 cm, 120 pp<br />
Four colour process<br />
€ 40.00 / £ 35.00 / US$ 54.00<br />
ISBN 978-3-86521-753-0<br />
BACKLIST<br />
Signer, Roman<br />
Travel Photos<br />
Hardcover<br />
24 x 30 cm, 240 pp<br />
Four colour process<br />
€ 38.00 / £ 25.00 / US$ 45.00<br />
ISBN 978-3-86521-282-5<br />
Singh, Dayanita<br />
Go Away Closer<br />
Softcover<br />
16 x 20 cm, 32 pp<br />
31 tritone plates<br />
€ 12.00 / £ 8.50 / US$ 15.00<br />
ISBN 978-3-86521-386-0<br />
Soth, Alec<br />
Niagara<br />
Hardcover with a tipped-in photo<br />
23 x 26.5 cm, 144 pp<br />
Four colour process<br />
€ 48.00 / £ 35.00 / US$ 65.00<br />
ISBN 978-3-86521-233-7<br />
Signer, Roman<br />
Karpaten / Carpathians<br />
Softcover<br />
23 x 16.5 cm, 120 pp<br />
€ 24.00 / £ 18.00 / $ 34.00<br />
ISBN 978-3-86930-489-2<br />
Sorrenti, Mario<br />
Draw Blood for Proof<br />
Hardcover<br />
46.7 x 29.4 cm, 336 pp<br />
155 photographs, Four-colour<br />
process<br />
€ 98.00 / £ 78.00 / US$ 128.00<br />
ISBN 978-3-86930-303-1<br />
Soth, Alex<br />
Broken Manual<br />
Softcover with gatefolds and UV finish<br />
21 x 29.7 cm, 68 pp<br />
17 colour plates, 33 b/w plates<br />
€ 40.00 / £ 32.00 / US$ 50.00<br />
ISBN 978-3-86930-199-0
Staeck, Klaus / Steidl, Gerhard<br />
Beuys Book<br />
Hardcover with foil embossing<br />
16.5 x 24 cm, 736 pp<br />
455 photographs, Four-colour<br />
process and duotone<br />
€ 28.00 / £ 22.00 / US$ 35.00<br />
ISBN 978-3-86521-914-5<br />
Sternfeld, Joel<br />
Sweet Earth: Experimental Utopias in<br />
America<br />
Clothbound hardcover<br />
30.5 x 25.5 cm, 136 pp<br />
60 colour plates<br />
€ 60.00 / £ 40.00 / US$ 65.00<br />
ISBN 978-3-86521-124-8<br />
Sternfeld, Joel<br />
When it Changed<br />
Softcover<br />
22.3 x 15 cm, 144 pp<br />
54 colour plates<br />
€ 25.00 / £ 17.50 / US$ 35.00<br />
ISBN 978-3-86521-278-8<br />
Staeck, Klaus<br />
Pornografie<br />
Softcover<br />
20 x 25 cm, 392 pp<br />
295 b/w plates<br />
€ 35.00 / £ 24.00 / US$ 45.00<br />
ISBN 978-3-88243-124-7<br />
Sternfeld, Joel<br />
Walking the High Line<br />
Clothbound hardcover with dust jacket<br />
26 x 21.5 cm, 72 pp<br />
29 photographs<br />
€ 28.00 / £ 25.00 / US$ 30.00<br />
ISBN 978-3-86521-982-4<br />
Sternfeld, Joel,<br />
Stranger Passing<br />
Clothbound Hardcover with a tippedin<br />
photo<br />
34.00 x 29.00 cm, 132 pp<br />
€ 65.00 / £ 50.00 / $ 88.00<br />
ISBN 978-3-86930-499-1<br />
BACKLIST<br />
Joel Sternfeld<br />
On This Site<br />
Clothbound hardcover with a tippedin<br />
photo<br />
12 x 10 in. / 30.5 x 25.4 cm, 112 pp<br />
50 colour plates<br />
€ 48.00 / £ 42.00 / US$ 65.00<br />
ISBN 978-3-86930-434-2<br />
Sternfeld, Joel<br />
First Pictures<br />
Clothbound with a tipped-in photo<br />
29.5 x 24.5 cm, 320 pp<br />
Four colour process<br />
€ 48.00 / £ 42.00 / US$ 78.00<br />
ISBN 978-3-86930-309-3<br />
Subotzky, Mikhael<br />
Retinal Shift<br />
Clothbound Hardcover<br />
19 x 26 cm, 300 pp<br />
€ 38.00 / £ 30.00 / $ 48.00<br />
ISBN 978-3-86930-539-4<br />
Sternfeld, Joel<br />
American Prospects<br />
Colthbound Hardcover<br />
39 x 30.5 cm 160 pp<br />
€ 88.00 / £ 75.00 / distributed in the<br />
USA by DAP<br />
ISBN 978-3-88243-915-1<br />
Sternfeld, Joel<br />
iDubai<br />
Clothbound hardcover<br />
20.3 x 25.4 cm, 160 pp<br />
70 colour plates<br />
€ 20.00 / £ 18.00 / US$ 28.00<br />
ISBN 978-3-86521-916-9<br />
Taylor-Johnson, Sam<br />
Birth of a Clown<br />
Clothbound hardcover with dust jacket<br />
23 x 33 cm, 48 pp<br />
45 photographs, Four-colour process<br />
€ 34.00 / £ 28.00 / US$ 40.00<br />
ISBN 978-3-86521-853-7<br />
193
Teller, Juergen<br />
Nackig auf dem Fußballplatz<br />
Softcover<br />
27.3 x 20.4 cm, 184 pp<br />
9 colour plates and 1 duotone plate<br />
€ 25.00 / £ 18.00 / US$ 30.00<br />
ISBN 978-3-88243-963-2<br />
Juergen Teller<br />
The Keys to the House<br />
Clothbound hardcover with dust jacket<br />
24 x 30 cm, 160 pp<br />
€ 45.00 / £ 39.00 / US$ 65.00<br />
ISBN 978-3-86930-383-3<br />
Tunbjörk, Lars<br />
I Love Borås!<br />
Hardcover in a slipcase<br />
27.4 x 34.4 cm, 168 pp<br />
175 colour plates<br />
€ 75.00 / £ 50.00 / US$ 90.00<br />
ISBN 978-3-86521-296-2<br />
194<br />
Teller, Juergen<br />
Zimmermann<br />
Clothbound hardcover housed<br />
in a slipcase<br />
23.5 x 29 cm, 56 pp<br />
€ 45.00 / £ 39.00 / US$ 65.00<br />
ISBN 978-3-86521-996-1<br />
Teller, Juergen / Jacobs, Marc<br />
Marc Jacobs Advertising 1998-2009<br />
Clothbound hardcover with<br />
dust jacket<br />
30 x 38 cm, 576 pp<br />
700 colour plates<br />
€ 88.00 / £ 78.00 / US$ 120.00<br />
ISBN 978-3-86521-715-8<br />
Vitali, Massimo<br />
Landscape with Figures<br />
Clothbound hardcover with dust jacket<br />
38.5 x 30 cm, 200 pp<br />
114 photographs, four colour<br />
process<br />
€ 85.00 / £ 69.00 / US$ 98.00<br />
ISBN 978-3-86930-197-6<br />
BACKLIST<br />
Teller, Juergen<br />
Nürnberg<br />
Clothbound hardcover<br />
35 x 28 cm, 120 pp<br />
60 colour plates<br />
€ 65.00 / £ 45.00 / US$ 85.00<br />
ISBN 978-3-86521-132-3<br />
Teller, Juergen<br />
Märchenstüberl<br />
Hardcover<br />
27 x 21 cm, 144 pp<br />
140 colour plates<br />
€ 22.00 / £ 14.00 / US$ 25.00<br />
ISBN 978-3-88243-863-5<br />
Waddell, Stephen<br />
Hunt and Gather<br />
Clothbound hardcover with<br />
dust jacket<br />
25 x 28.7 cm, 96 pp<br />
41 colour plates<br />
€ 35.00 / £ 32.00 / US$ 50.00<br />
ISBN 978-3-86930-115-0<br />
Juergen Teller<br />
Pictures and Text<br />
Two hardcovers housed in a slipcase<br />
21.5 x 26.2 cm, 192 pp<br />
€ 48.00 / £ 40.00 / US$ 65.00<br />
ISBN 978-3-86930-320-8<br />
Tuggener, Jakob<br />
Fabrik<br />
Clothbound hardcover with<br />
dust jacket<br />
22.8 x 30.9 cm, 62 pp<br />
95 photographs, tritone<br />
€ 65.00 / £ 45.00 / US$ 85.00<br />
ISBN 978-3-86521-493-5<br />
Wessel, Henry<br />
Waikiki<br />
Clothbound hardcover with<br />
a tipped-in photo and dust jacket<br />
29.5 x 29.5 cm, 60 pp<br />
25 photographs, tritone<br />
€ 58.00 / £ 50.00 / US$ 85.00<br />
ISBN 978-3-89630-300-0
Wetzel, Gereon / Adolph, Jörg<br />
How to Make a Book with Steidl<br />
DVD, documentary, 90 min<br />
Original version: English / German<br />
with subtitles<br />
€ 25.00 / £ 22.00 / US$ 34.95<br />
ISBN 978-3-86930-119-8<br />
Wylie, Donovan<br />
British Watchtowers<br />
Hardcover<br />
30.3 x 23.5 cm, 72 pp<br />
49 colour plates<br />
€ 40.00 / £ 27.50 / US$ 50.00<br />
ISBN 978-3-86521-499-7<br />
Wiedenhöfer, Kai<br />
Confrontier<br />
Hardcover with foil embossing<br />
23 x 33 cm, 184 pp<br />
128 photographs, Four-colour<br />
process<br />
€ 48.00 / £ 35.00 / US$ 68.00<br />
ISBN 978-3-86930-550-9<br />
Wylie, Donovan<br />
Maze<br />
Two hardcover books and<br />
a singer-stitched booklet, housed in<br />
a slipcase, 29.5 x 23.5 cm<br />
206 pp, 150 colour plates<br />
€ 48.00 / £ 44.00 / US$ 65.00<br />
ISBN 978-3-86521-907-7<br />
BACKLIST<br />
Wiedenhöfer, Kai<br />
The Book of Destruction<br />
Clothbound hardcover with<br />
dust jacket<br />
22.7 x 30.5 cm, 160 pp<br />
94 photographs, four colour process<br />
€ 34.00 / £ 30.00 / US$ 48.00<br />
ISBN 978-3-86930-207-2<br />
Wylie, Donovan<br />
Outposts / Kandahar Province<br />
Clothbound hardcover with<br />
dust jacket<br />
29.5 x 23.5 cm, 64 pp<br />
28 photographs, four colour process<br />
€ 32.00 / £ 28.00 / US$ 45.00<br />
ISBN 978-3-86930-321-5<br />
Wood, Tom<br />
Men and Women<br />
Two hardcover books in a sleeve<br />
19.8 x 25.5 cm, 344 pp<br />
268 photographs, Duotone and fourcolour<br />
process<br />
€ 68.00 / £ 58.00 / US$ 78.00<br />
ISBN 978-3-86930-570-7<br />
195
www.steidl.de<br />
www.steidlville.com<br />
We would like to announce that you<br />
can no longer order books on our old<br />
website www.steidlville.com. We will<br />
have set up an online store on our<br />
new website www.steidl.de by fall<br />
this year. Meanwhile, please address<br />
your orders to Susanne Schmidt at<br />
sschmidt@steidl.de.
ISBN 978-3-86930-701-5<br />
Printed in Germany by Steidl
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